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"content": "\u003cp>The \u003cstrong>\u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\">Homeless Prenatal Program\u003c/a>\u003c/strong> (HPP) is thrilled to present the internationally renowned jazz artist Regina Carter for a benefit concert on \u003cstrong>Saturday, February 27\u003csup>th\u003c/sup>\u003c/strong> at the Nourse Theater in San Francisco. Over the course of her nine album career, Carter has garnered various awards including two Grammy nominations and a MacArthur \"Genius\" Award. She has been lauded by critics across the globe, with the LA Times describing her as “\u003cem>a talented, charismatic player who is almost single-handedly reviving interest in the violin as a jazz instrument\u003c/em>.”\u003cstrong> Here's your chance to see her live, for FREE! We’ve got four pairs of tickets (worth $55 each) to give away!\u003c/strong>\u003c/p>\n\u003caside class=\"alignright\">[vimeo 87115762 w=580 h=281]\n\u003c/aside>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Regina Carter\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select four winners for a pair of tickets. \u003cstrong>Deadline to enter is Tuesday, February 23 at 11:59 pm.\u003c/strong> The winner will be notified by e-mail on Wednesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca style=\"color: #114999\" href=\"http://www.homelessprenatal.org/featured/regina\" target=\"_blank\">Regina Carter, Southern Comfort\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>8pm, Saturday, February 27\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\" target=\"_blank\">Nourse Theater\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>275 Hayes St, San Francisco, CA 94117\u003c/strong>\u003cstrong>, CA 94610\u003c/strong>\u003cbr>\n\u003cb>\u003ca href=\"mailto:robertagoodman@homelessprenatal.org\" target=\"_blank\">robertagoodman@homelessprenatal.org\u003c/a>, 415-546-6756 x319 \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003c/aside>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Regina Carter\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select four winners for a pair of tickets. \u003cstrong>Deadline to enter is Tuesday, February 23 at 11:59 pm.\u003c/strong> The winner will be notified by e-mail on Wednesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca style=\"color: #114999\" href=\"http://www.homelessprenatal.org/featured/regina\" target=\"_blank\">Regina Carter, Southern Comfort\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>8pm, Saturday, February 27\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\" target=\"_blank\">Nourse Theater\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>275 Hayes St, San Francisco, CA 94117\u003c/strong>\u003cstrong>, CA 94610\u003c/strong>\u003cbr>\n\u003cb>\u003ca href=\"mailto:robertagoodman@homelessprenatal.org\" target=\"_blank\">robertagoodman@homelessprenatal.org\u003c/a>, 415-546-6756 x319 \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland’s own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders’ last campaign stop in New Hampshire on Monday, Feb. 8.\u003c/p>\n\u003cp>Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the \u003ca href=\"https://go.berniesanders.com/page/event/detail/townmeeting/4z39\" target=\"_blank\" rel=\"noopener\">University of New Hampshire, Durham campus\u003c/a> the night before primary voting began in the state.\u003c/p>\n\u003cp>In videos posted on his \u003ca href=\"https://www.facebook.com/fantasticnegrito/\" target=\"_blank\" rel=\"noopener\">social media accounts\u003c/a>, Dphrepaulezz can be seen telling an audiences of thousands to “get out the vote” and shaking hands with Sanders himself.\u003c/p>\n\u003cp>https://twitter.com/MusicNegrito/status/697136532163923968\u003c/p>\n\u003cp>An Oakland resident since 1979 who has been playing music off and on \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">since the ’90s\u003c/a>, Dphrepaulezz was the winner of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">NPR Tiny Desk Concert Contest.\u003c/a> He would later make headlines when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">detained by police before his set at Outside Lands\u003c/a> because an intern that worked for him scalped a wristband for the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "Oakland's own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders' last campaign stop in New Hampshire on Monday, Feb. 8. Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the University of New Hampshire, Durham campus the night before primary voting began in the state. In videos posted on his social media accounts, Dphrepaulezz can be seen telling an audiences of thousands to "get out the vote" and shaking hands with Sanders himself. https://twitter.com/MusicNegrito/status/697136532163923968 An Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders’ last campaign stop in New Hampshire on Monday, Feb. 8.\u003c/p>\n\u003cp>Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the \u003ca href=\"https://go.berniesanders.com/page/event/detail/townmeeting/4z39\" target=\"_blank\" rel=\"noopener\">University of New Hampshire, Durham campus\u003c/a> the night before primary voting began in the state.\u003c/p>\n\u003cp>In videos posted on his \u003ca href=\"https://www.facebook.com/fantasticnegrito/\" target=\"_blank\" rel=\"noopener\">social media accounts\u003c/a>, Dphrepaulezz can be seen telling an audiences of thousands to “get out the vote” and shaking hands with Sanders himself.\u003c/p>\u003c/p>\u003c/div>",
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"slug": "show-me-yours-blow-job-ballet-valentines-day-sock-hop-and-more",
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"headTitle": "Show Me Yours: ‘Blow Job Ballet,’ Valentine’s Day Sock Hop, and More | KQED",
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"content": "\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Our critic's picks also include world and regional theatrical premieres from El Teatro Campesino and The Magic Theatre",
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"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Six Beyoncé Pieces By Women of Color That You Should Read Right Now",
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"content": "\u003cp>Hey there, Monday afternoon Internet. Are you still recovering from a wings-and-Budweiser hangover? (Note: Was not \u003ca href=\"http://www.marketwatch.com/story/peyton-manning-handed-budweiser-32-million-in-free-ads-after-the-super-bowl-2016-02-08\" target=\"_blank\">paid to name that beer brand specifically.\u003c/a>) Or maybe you're dealing with whiplash after trying to recreate the dance moves from Beyoncé's video/Super Bowl performance of \"Formation,\" the new Black Lives Matter-soaked single \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\">she dropped on Saturday\u003c/a> -- a track whose \u003ca href=\"https://twitter.com/SarahKSilverman/status/696508320203608068\" target=\"_blank\">lyrics we all knew\u003c/a>, because she's Beyoncé, by the time of her performance on Sunday.\u003c/p>\n\u003cp>I have \u003ca href=\"http://www.sfbg.com/noise/2014/01/16/course-beyonc%C3%A9-feminist-gender-equality-and-women-entertainment\" target=\"_blank\">written\u003c/a> about \u003ca href=\"http://www.sfbg.com/noise/2014/08/06/capitalism-performance-art-and-whole-lot-ass-shaking-notes-b%C3%A9yonce-and-jay-z-show\" target=\"_blank\">Beyoncé before\u003c/a>, and it should come as no surprise that I generally believe she's a force for good in the world. She is not without fault, but she is undeniably a marvel of an entertainer as well as a consummate businesswoman. I also think she's expanding notions of what pop music can be, the ways it can shape culture and drive much-needed conversation, and using her platform at the top of the charts in a more interesting and impactful way than perhaps any artist in the last 30 years.\u003c/p>\n\u003cp>That said: I don't want to hear my own Beyoncé opinions right now. And, while \u003ca href=\"http://ideas.time.com/2012/04/09/theproblem-with-the-my-best-friend-is-black-defense/\" target=\"_blank\">some of my favorite music writers are white\u003c/a>, I don't want to hear their Beyoncé opinions either. To be clear, I understand the impulse and obligation that major news channels have, when an artist drops a video as racially and politically charged as \"Formation,\" to \"translate\" it for mainstream, confused, white audiences. But if there's one thing \u003ca href=\"https://en.wikipedia.org/wiki/Black_feminism\" target=\"_blank\">black feminism \u003c/a>doesn't need, it's old white male music critics summarizing it in the hopes of making it more palatable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LrCHz1gwzTo\u003c/p>\n\u003cp>With that in mind, instead of parsing each frame of Bey's new video or waxing poetic about what it means for most aggressively corporate, traditionally whitewashed sporting event in the country to have featured a Southern-born black woman singing about \"negro\" noses and Afros during the most-watched entertainment spectacle of the year, I'd like to use this space a little differently.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus, here are some pieces about Beyoncé's new song that were written or co-written by women of color. You should read them. Fun extra credit homework: Start noticing bylines in general. When it comes to a topic like a video that deals directly with America's treatment of black female and queer bodies, especially, it's worth noting where and to whom you're turning when you want insightful cultural commentary.\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theguardian.com/commentisfree/2016/feb/08/beyonce-formation-black-american-narrative-the-margins\" target=\"_blank\">Beyoncé's Formation reclaims black America's narrative from the margins\u003c/a>,'\u003c/strong> \u003cstrong>by Syreeta McFadden in The Guardian (UK)\u003c/strong>\u003cbr>\n\"Beyoncé’s work shows that revolution can be beautiful; protest and celebration are not contradictions when imagining a black future that isn’t overrun by images of black pain and death.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theroot.com/articles/culture/2016/02/beyonce_drops_formation_for_the_people_the_black_people.html\" target=\"_blank\">Beyoncé Drops ‘Formation’ for the People, the Black People\u003c/a>,' by Danielle C. Belton in The Root\u003c/strong>\u003cbr>\n\"What if I told you Beyoncé was always political? Even when she was doo-wop popping in Destiny’s Child. What if I told you that to be black in a public space, with all eyes on you and choosing carefully how to handle that spotlight is a form of politics, a negotiation between the self and the world that all black people must make?\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.rollingstone.com/music/features/beyonces-black-southern-formation-20160208\" target=\"_blank\">Beyonce's Black Southern Formation\u003c/a>,' by Zandria F. Robinson, \u003cem>Rolling Stone\u003c/em>\u003c/strong>\u003cbr>\n\"...The video for 'Formation' does not settle for restrained allusions to black southern identity or an easy conversion of black southern into black American. In her latest work, Beyoncé opts to tell a sweeping history of her southern identity and the black South writ large, bringing the weight of black New Orleans, past and present, and black women's and queer black men's cultures to the task.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"https://www.thefader.com/2016/02/08/beyonce-formation-essay\" target=\"_blank\">Beyoncé works hard\u003c/a>,' by Rawiya Kameir, The Fader\u003c/strong>\u003cbr>\n\"Beyoncé’s success with 'Formation” doesn’t come from the fact that she is publicly claiming a politic, but that she is casually weaving that politic in with the rest of her aesthetic.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.htm\" target=\"_blank\">Beyoncé in ‘Formation’: Entertainer, Activist, Both?\u003c/a>,' Jenna Wortham (as part of a roundtable with Wesley Morris and Jon Caramanica) in the NYT\u003c/strong>\u003cbr>\n\"Beyoncé’s control is an exquisite study in self-restraint, especially in the current social-media-saturated climate. One could also read this as an existential call to action to her listeners and viewers: 'Black women, join me and make your own formation, a power structure that doesn’t rely on traditional institutions.' It’s also not insignificant that she’s electing to parade her substantial wealth and ability to outearn most men in the music industry (including her husband, Jay Z) during the Super Bowl — the flagship event of male virility and violence in this country.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://noisey.vice.com/en_ca/blog/beyonce-formation-op-ed-super-bowl-performance-2016\" target=\"_blank\">Get What's Mine: 'Formation' Changes the Way We Listen to Beyoncé Forever\u003c/a>,' by Naila Keleta-Mae, Noisey\u003c/strong>\u003cbr>\n\"Just as Billie Holiday brought social awareness back with 'Strange Fruit,' 'Formation' has the potential to usher calls for black freedom from anti-black racism, state-sanctioned violence, and institutionalized poverty back to the forefront of black popular music. We would all be well served by that change.\"\u003c/p>\n\u003cp>\u003cstrong>Update, Feb. 9: Here are two more recent critical pieces also worth your attention. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.deathandtaxesmag.com/280129/beyonce-capitalism-black-activism/\" target=\"_blank\">Beyoncé’s capitalism, masquerading as radical change\u003c/a>,' by Dianca London in Death and Taxes\u003c/strong>\u003cbr>\n\"If the 'best revenge' or the answer to progress 'is your paper' as the lyrics to 'Formation' suggest, Bey’s brand of activism is ultimately doomed. Viewing monetary prowess as power is not only a familiar (and flawed) trope within her genre, it is also a predictably capitalistic formula for agency. Prefaced by a reminder to 'always stay gracious,' Bey’s suggested route towards liberation is contingent on two things: respectability and the mobility that comes with affluence.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.colorlines.com/articles/jackson-five-nostrils-creole-vs-negro-and-beefing-over-beyonc%C3%A9s-formation\" target=\"_blank\">On 'Jackson Five Nostrils,' Creole vs. 'Negro' and Beefing Over Beyoncé's 'Formation'\u003c/a> by Yaba Blay, Colorlines\u003c/strong>\u003cbr>\n\"So while it may seem innocent that Beyoncé describes herself as a mixture of Creole and 'Negro,' this particular celebration of her self invokes a historical narrative that forces some of us to look at her sideways...Had this been any other artist, I likely would have pounced on these contradictions immediately. Instead, I’m now facing my own. I'm asking myself what it is about Beyoncé that can silence even me, a scholar who researches and writes about color issues and who grew up in a city where the deep shade of her complexion literally determined who she could be friends with.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey there, Monday afternoon Internet. Are you still recovering from a wings-and-Budweiser hangover? (Note: Was not \u003ca href=\"http://www.marketwatch.com/story/peyton-manning-handed-budweiser-32-million-in-free-ads-after-the-super-bowl-2016-02-08\" target=\"_blank\">paid to name that beer brand specifically.\u003c/a>) Or maybe you're dealing with whiplash after trying to recreate the dance moves from Beyoncé's video/Super Bowl performance of \"Formation,\" the new Black Lives Matter-soaked single \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\">she dropped on Saturday\u003c/a> -- a track whose \u003ca href=\"https://twitter.com/SarahKSilverman/status/696508320203608068\" target=\"_blank\">lyrics we all knew\u003c/a>, because she's Beyoncé, by the time of her performance on Sunday.\u003c/p>\n\u003cp>I have \u003ca href=\"http://www.sfbg.com/noise/2014/01/16/course-beyonc%C3%A9-feminist-gender-equality-and-women-entertainment\" target=\"_blank\">written\u003c/a> about \u003ca href=\"http://www.sfbg.com/noise/2014/08/06/capitalism-performance-art-and-whole-lot-ass-shaking-notes-b%C3%A9yonce-and-jay-z-show\" target=\"_blank\">Beyoncé before\u003c/a>, and it should come as no surprise that I generally believe she's a force for good in the world. She is not without fault, but she is undeniably a marvel of an entertainer as well as a consummate businesswoman. I also think she's expanding notions of what pop music can be, the ways it can shape culture and drive much-needed conversation, and using her platform at the top of the charts in a more interesting and impactful way than perhaps any artist in the last 30 years.\u003c/p>\n\u003cp>That said: I don't want to hear my own Beyoncé opinions right now. And, while \u003ca href=\"http://ideas.time.com/2012/04/09/theproblem-with-the-my-best-friend-is-black-defense/\" target=\"_blank\">some of my favorite music writers are white\u003c/a>, I don't want to hear their Beyoncé opinions either. To be clear, I understand the impulse and obligation that major news channels have, when an artist drops a video as racially and politically charged as \"Formation,\" to \"translate\" it for mainstream, confused, white audiences. But if there's one thing \u003ca href=\"https://en.wikipedia.org/wiki/Black_feminism\" target=\"_blank\">black feminism \u003c/a>doesn't need, it's old white male music critics summarizing it in the hopes of making it more palatable.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LrCHz1gwzTo'\n title='//www.youtube.com/embed/LrCHz1gwzTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With that in mind, instead of parsing each frame of Bey's new video or waxing poetic about what it means for most aggressively corporate, traditionally whitewashed sporting event in the country to have featured a Southern-born black woman singing about \"negro\" noses and Afros during the most-watched entertainment spectacle of the year, I'd like to use this space a little differently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thus, here are some pieces about Beyoncé's new song that were written or co-written by women of color. You should read them. Fun extra credit homework: Start noticing bylines in general. When it comes to a topic like a video that deals directly with America's treatment of black female and queer bodies, especially, it's worth noting where and to whom you're turning when you want insightful cultural commentary.\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theguardian.com/commentisfree/2016/feb/08/beyonce-formation-black-american-narrative-the-margins\" target=\"_blank\">Beyoncé's Formation reclaims black America's narrative from the margins\u003c/a>,'\u003c/strong> \u003cstrong>by Syreeta McFadden in The Guardian (UK)\u003c/strong>\u003cbr>\n\"Beyoncé’s work shows that revolution can be beautiful; protest and celebration are not contradictions when imagining a black future that isn’t overrun by images of black pain and death.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.theroot.com/articles/culture/2016/02/beyonce_drops_formation_for_the_people_the_black_people.html\" target=\"_blank\">Beyoncé Drops ‘Formation’ for the People, the Black People\u003c/a>,' by Danielle C. Belton in The Root\u003c/strong>\u003cbr>\n\"What if I told you Beyoncé was always political? Even when she was doo-wop popping in Destiny’s Child. What if I told you that to be black in a public space, with all eyes on you and choosing carefully how to handle that spotlight is a form of politics, a negotiation between the self and the world that all black people must make?\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.rollingstone.com/music/features/beyonces-black-southern-formation-20160208\" target=\"_blank\">Beyonce's Black Southern Formation\u003c/a>,' by Zandria F. Robinson, \u003cem>Rolling Stone\u003c/em>\u003c/strong>\u003cbr>\n\"...The video for 'Formation' does not settle for restrained allusions to black southern identity or an easy conversion of black southern into black American. In her latest work, Beyoncé opts to tell a sweeping history of her southern identity and the black South writ large, bringing the weight of black New Orleans, past and present, and black women's and queer black men's cultures to the task.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"https://www.thefader.com/2016/02/08/beyonce-formation-essay\" target=\"_blank\">Beyoncé works hard\u003c/a>,' by Rawiya Kameir, The Fader\u003c/strong>\u003cbr>\n\"Beyoncé’s success with 'Formation” doesn’t come from the fact that she is publicly claiming a politic, but that she is casually weaving that politic in with the rest of her aesthetic.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.htm\" target=\"_blank\">Beyoncé in ‘Formation’: Entertainer, Activist, Both?\u003c/a>,' Jenna Wortham (as part of a roundtable with Wesley Morris and Jon Caramanica) in the NYT\u003c/strong>\u003cbr>\n\"Beyoncé’s control is an exquisite study in self-restraint, especially in the current social-media-saturated climate. One could also read this as an existential call to action to her listeners and viewers: 'Black women, join me and make your own formation, a power structure that doesn’t rely on traditional institutions.' It’s also not insignificant that she’s electing to parade her substantial wealth and ability to outearn most men in the music industry (including her husband, Jay Z) during the Super Bowl — the flagship event of male virility and violence in this country.\"\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://noisey.vice.com/en_ca/blog/beyonce-formation-op-ed-super-bowl-performance-2016\" target=\"_blank\">Get What's Mine: 'Formation' Changes the Way We Listen to Beyoncé Forever\u003c/a>,' by Naila Keleta-Mae, Noisey\u003c/strong>\u003cbr>\n\"Just as Billie Holiday brought social awareness back with 'Strange Fruit,' 'Formation' has the potential to usher calls for black freedom from anti-black racism, state-sanctioned violence, and institutionalized poverty back to the forefront of black popular music. We would all be well served by that change.\"\u003c/p>\n\u003cp>\u003cstrong>Update, Feb. 9: Here are two more recent critical pieces also worth your attention. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>'\u003ca href=\"http://www.deathandtaxesmag.com/280129/beyonce-capitalism-black-activism/\" target=\"_blank\">Beyoncé’s capitalism, masquerading as radical change\u003c/a>,' by Dianca London in Death and Taxes\u003c/strong>\u003cbr>\n\"If the 'best revenge' or the answer to progress 'is your paper' as the lyrics to 'Formation' suggest, Bey’s brand of activism is ultimately doomed. Viewing monetary prowess as power is not only a familiar (and flawed) trope within her genre, it is also a predictably capitalistic formula for agency. Prefaced by a reminder to 'always stay gracious,' Bey’s suggested route towards liberation is contingent on two things: respectability and the mobility that comes with affluence.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.colorlines.com/articles/jackson-five-nostrils-creole-vs-negro-and-beefing-over-beyonc%C3%A9s-formation\" target=\"_blank\">On 'Jackson Five Nostrils,' Creole vs. 'Negro' and Beefing Over Beyoncé's 'Formation'\u003c/a> by Yaba Blay, Colorlines\u003c/strong>\u003cbr>\n\"So while it may seem innocent that Beyoncé describes herself as a mixture of Creole and 'Negro,' this particular celebration of her self invokes a historical narrative that forces some of us to look at her sideways...Had this been any other artist, I likely would have pounced on these contradictions immediately. Instead, I’m now facing my own. I'm asking myself what it is about Beyoncé that can silence even me, a scholar who researches and writes about color issues and who grew up in a city where the deep shade of her complexion literally determined who she could be friends with.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alicia Keys, Beyoncé's Dancers Comment on Mario Woods Case During Super Bowl Gigs",
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"content": "\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmuIatp3YDo\u003c/p>\n\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/BLMBAYAREA/status/696519908050362368\u003c/p>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\n\u003cp>https://twitter.com/Luvvie/status/696521074922532864\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fmuIatp3YDo'\n title='//www.youtube.com/embed/fmuIatp3YDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Metallica Channels Fury in All the Right Ways at AT&T Park",
"headTitle": "Live Review: Metallica Channels Fury in All the Right Ways at AT&T Park | KQED",
"content": "\u003cp>When you get down to it, there are two Metallicas in this world: the Metallica that laid the groundwork for Bay Area thrash alongside Exodus, Testament, Forbidden and others, and then the Metallica that, via “Enter Sandman,” ushered in metal’s degeneration from rebellious, anti-authoritarian music to a white dudebro soundtrack played by smarmy morning DJs on stations with names like “The Bone” and “The Tool.”\u003c/p>\n\u003cp>You know what happened next: the \u003ca href=\"https://en.wikipedia.org/wiki/Metallica_v._Napster,_Inc.\" target=\"_blank\" rel=\"noopener\">Napster fisaco\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=aShnuQsuBzU\" target=\"_blank\" rel=\"noopener\">\u003cem>Spinal Tap\u003c/em>-in-real-life\u003c/a> documentary \u003cem>Some Kind of Monster\u003c/em>, the \u003ca href=\"https://www.youtube.com/watch?v=EyM3_u8SDNQ\" target=\"_blank\" rel=\"noopener\">drum tone\u003c/a> on \u003cem>St. Anger\u003c/em> and, most recently, \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">litigation-happy\u003c/a> copyright lawyers.\u003c/p>\n\u003cp>At AT&T Park last night, we got the old Metallica. \u003c/p>\n\u003cfigure id=\"attachment_11309140\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11309140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forget the crowd of 30,000. Forget the huge, five-panel stage set. Forget the pyrotechnics so enormous that they toasted the faces of those even in the third deck, far away from the center-field stage in a huge stadium. Metallica put on a show that felt like home, in a two-and-a-half-hour set titled “Too Heavy for Halftime” that served as a sideways middle-finger to the NFL on the eve of its biggest event.\u003c/p>\n\u003cp>“I know there was a petition going around,” said frontman James Hetfield, acknowledging an online effort to get Metallica booked as a Super Bowl halftime act. “But I think it works this way. We get to play a whole show, and we get to represent the Bay Area.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area” and “San Francisco” were repeated phrases from Hetfield, who led his bandmates in a pummeling set that opened with “Creeping Death” — a thirty-two-year-old song that still sounds furious as ever — and continued through early classics like “Sanitarium,” “Seek & Destroy,” and a one-two punch of “Master of Puppets” and “Battery” that whipped the general-admission field into six separate mosh pits and had fans wondering if they were at an enormous baseball stadium in 2016 or the Henry J. Kaiser Auditorium in 1986. \u003c/p>\n\u003cfigure id=\"attachment_11309142\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"800\" height=\"999\" class=\"size-full wp-image-11309142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-480x600.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-768x959.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such force rendered metal ballads like “The Unforgiven” anomalies, and it became easy to forget that Metallica essentially created the radio-friendly form: acoustic arpeggios, heavy mid-tempo choruses and distorted, Spanish-flavored guitar solos that would make Carlos Montoya do a double take.\u003c/p>\n\u003cp>But it was the set’s centerpiece “One,” the anti-war epic from 1988’s \u003cem>…And Justice For All\u003c/em>, that crystallized the notion of Metallica not as a numbskull Super Bowl attraction but as a musical institution channeling its testosterone in all the right directions. As images of war and fallen soldiers splayed across gigantic LED panels, “One” served as properly delivered aggression in protest of misguided U.S. aggression; or, as fellow early Bay Area thrash band D.R.I. once put it, a form of violent pacification. \u003c/p>\n\u003cp>The effect was four tough guys fighting the good fight, which runs deep in Bay Area metal (witness the \u003ca href=\"https://www.youtube.com/watch?v=fCBKzWg4WYo\" target=\"_blank\" rel=\"noopener\">response of Robb Flynn\u003c/a>, of Forbidden and Vio-lence, to the \u003ca href=\"https://www.youtube.com/watch?v=rVaUlXfvOHg\" target=\"_blank\" rel=\"noopener\">“white power” seig-heiling\u003c/a> of Pantera’s Phil Anselmo last month). Add to that the band’s genuine gratitude at having lasted so long, their tribute to original bassist Cliff Burton and their love for their fans — repaid in a full-stadium sing-along at the end of “The Memory Remains” — and the night was, ultimately, a feel-good night, which seems a funny thing to say about a band \u003ca href=\"http://www.amazon.com/Metallica-Metal-Your-Ass-T-Shirt/dp/B0013QULQS\" target=\"_blank\" rel=\"noopener\">whose T-shirts\u003c/a> were once banned from junior high schools across the country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And after the night’s closer — “Enter Sandman,” naturally — beneath a shower of fireworks, hell, who needs to watch the Super Bowl?\u003c/p>\n\u003cfigure id=\"attachment_11309138\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg\" alt=\"The crowd at Metallica's concert at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"783\" class=\"size-full wp-image-11309138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-960x683.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Metallica’s concert at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you get down to it, there are two Metallicas in this world: the Metallica that laid the groundwork for Bay Area thrash alongside Exodus, Testament, Forbidden and others, and then the Metallica that, via “Enter Sandman,” ushered in metal’s degeneration from rebellious, anti-authoritarian music to a white dudebro soundtrack played by smarmy morning DJs on stations with names like “The Bone” and “The Tool.”\u003c/p>\n\u003cp>You know what happened next: the \u003ca href=\"https://en.wikipedia.org/wiki/Metallica_v._Napster,_Inc.\" target=\"_blank\" rel=\"noopener\">Napster fisaco\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=aShnuQsuBzU\" target=\"_blank\" rel=\"noopener\">\u003cem>Spinal Tap\u003c/em>-in-real-life\u003c/a> documentary \u003cem>Some Kind of Monster\u003c/em>, the \u003ca href=\"https://www.youtube.com/watch?v=EyM3_u8SDNQ\" target=\"_blank\" rel=\"noopener\">drum tone\u003c/a> on \u003cem>St. Anger\u003c/em> and, most recently, \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">litigation-happy\u003c/a> copyright lawyers.\u003c/p>\n\u003cp>At AT&T Park last night, we got the old Metallica. \u003c/p>\n\u003cfigure id=\"attachment_11309140\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11309140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesHetfield.inline2-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forget the crowd of 30,000. Forget the huge, five-panel stage set. Forget the pyrotechnics so enormous that they toasted the faces of those even in the third deck, far away from the center-field stage in a huge stadium. Metallica put on a show that felt like home, in a two-and-a-half-hour set titled “Too Heavy for Halftime” that served as a sideways middle-finger to the NFL on the eve of its biggest event.\u003c/p>\n\u003cp>“I know there was a petition going around,” said frontman James Hetfield, acknowledging an online effort to get Metallica booked as a Super Bowl halftime act. “But I think it works this way. We get to play a whole show, and we get to represent the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area” and “San Francisco” were repeated phrases from Hetfield, who led his bandmates in a pummeling set that opened with “Creeping Death” — a thirty-two-year-old song that still sounds furious as ever — and continued through early classics like “Sanitarium,” “Seek & Destroy,” and a one-two punch of “Master of Puppets” and “Battery” that whipped the general-admission field into six separate mosh pits and had fans wondering if they were at an enormous baseball stadium in 2016 or the Henry J. Kaiser Auditorium in 1986. \u003c/p>\n\u003cfigure id=\"attachment_11309142\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg\" alt=\"James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016.\" width=\"800\" height=\"999\" class=\"size-full wp-image-11309142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-480x600.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JamesInlineREAL-768x959.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Hetfield of Metallica performs at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such force rendered metal ballads like “The Unforgiven” anomalies, and it became easy to forget that Metallica essentially created the radio-friendly form: acoustic arpeggios, heavy mid-tempo choruses and distorted, Spanish-flavored guitar solos that would make Carlos Montoya do a double take.\u003c/p>\n\u003cp>But it was the set’s centerpiece “One,” the anti-war epic from 1988’s \u003cem>…And Justice For All\u003c/em>, that crystallized the notion of Metallica not as a numbskull Super Bowl attraction but as a musical institution channeling its testosterone in all the right directions. As images of war and fallen soldiers splayed across gigantic LED panels, “One” served as properly delivered aggression in protest of misguided U.S. aggression; or, as fellow early Bay Area thrash band D.R.I. once put it, a form of violent pacification. \u003c/p>\n\u003cp>The effect was four tough guys fighting the good fight, which runs deep in Bay Area metal (witness the \u003ca href=\"https://www.youtube.com/watch?v=fCBKzWg4WYo\" target=\"_blank\" rel=\"noopener\">response of Robb Flynn\u003c/a>, of Forbidden and Vio-lence, to the \u003ca href=\"https://www.youtube.com/watch?v=rVaUlXfvOHg\" target=\"_blank\" rel=\"noopener\">“white power” seig-heiling\u003c/a> of Pantera’s Phil Anselmo last month). Add to that the band’s genuine gratitude at having lasted so long, their tribute to original bassist Cliff Burton and their love for their fans — repaid in a full-stadium sing-along at the end of “The Memory Remains” — and the night was, ultimately, a feel-good night, which seems a funny thing to say about a band \u003ca href=\"http://www.amazon.com/Metallica-Metal-Your-Ass-T-Shirt/dp/B0013QULQS\" target=\"_blank\" rel=\"noopener\">whose T-shirts\u003c/a> were once banned from junior high schools across the country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And after the night’s closer — “Enter Sandman,” naturally — beneath a shower of fireworks, hell, who needs to watch the Super Bowl?\u003c/p>\n\u003cfigure id=\"attachment_11309138\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg\" alt=\"The crowd at Metallica's concert at AT&T Park on Feb. 6, 2016.\" width=\"1100\" height=\"783\" class=\"size-full wp-image-11309138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Crowd.End3_-960x683.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Metallica’s concert at AT&T Park on Feb. 6, 2016. \u003ccite>(Mike DeWald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Hear an Incredible Data-Visualization Graph of Every Top 10 Hip-Hop Hit Since 1995",
"headTitle": "Hear an Incredible Data-Visualization Graph of Every Top 10 Hip-Hop Hit Since 1995 | KQED",
"content": "\u003cp>We’ve seen data visualization do \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">great things\u003c/a> in hip-hop, but this one has to be experienced to be believed: a \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">running mix\u003c/a> of every Top 10 Billboard hip-hop hit since 1995, blended by No. 1 hits and accompanied by a hypnotizing visual graph.\u003c/p>\n\u003cp>Want to completely lose hours of your day? \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a>.\u003c/p>\n\u003cp>The graph starts out in a three-way battle for No. 1 that anyone listening to rap in 1995 will instantly remember: Notorious B.I.G.’s “Big Poppa,” Dr. Dre’s “Keep Their Heads Ringin'” and 2Pac’s “Dear Mama.” Numbers two through 10 bounce up and down as the graph scrolls along through time; some linger in the middle range for weeks (the Bay Area anthem “I Got 5 on It,” by the Luniz) and some shoot swiftly to the top (“How Do U Want It,” 2Pac) — or simply start right at No. 1 (“I’ll Be Missing You,” Puff Daddy’s tribute to Notorious B.I.G.). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg\" alt=\"bustarhymes\" width=\"1400\" height=\"736\" class=\"aligncenter size-full wp-image-11308734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-1180x620.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-960x505.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>What’s incredible about the graph — and really, it’s \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">something\u003c/a> — is that it arranges our memories of certain song’ ubiquity into a visual understanding, complete with hearing the songs in chronological order, their duration dictated by weeks spent at No. 1. Remember 1999-2000, when you couldn’t stop hearing Missy Elliott’s “Hot Boyz” for 18 weeks? In the graph, “Hot Boyz” plays for 54 seconds, all through Y2K, before finally usurped by the Ying Yang Twins’ “Whistle While You Twurk.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another fun moment: when Billboard’s Hot Rap Chart changed their methodology to include digital downloads and streaming services such as YouTube, and Psy’s “Gangnam Style” shoots straight to No. 1 in October of 2012.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg\" alt=\"gangnamstyle\" width=\"1100\" height=\"579\" class=\"aligncenter size-full wp-image-11308735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-400x211.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-960x505.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Created by Polygraph’s Matthew Daniels (he also created the \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">Largest Vocabulary in Hip-Hop\u003c/a> graph) with assistance from Emily White and Trevor Anderson at Billboard, the page allows for scrolling through time and mouse-over information on every song. And while the player can start all the way back in 1989, at the genesis of the Hot Rap Chart, \u003ca href=\"https://www.reddit.com/r/InternetIsBeautiful/comments/44k9fa/listen_to_the_hip_hops_billboard_top_10_songs/\" target=\"_blank\" rel=\"noopener\">on Reddit\u003c/a> Daniels said it defaults to start in 1995 “because 1995 is, by most people, considered the end of the golden age of hip-hop. And it’s peak nostalgia for most people, so I figured it’d be a good place to kick off the timeline.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Added Daniels, “I’ll be making more soon for the Hot 100 and other genres.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve seen data visualization do \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">great things\u003c/a> in hip-hop, but this one has to be experienced to be believed: a \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">running mix\u003c/a> of every Top 10 Billboard hip-hop hit since 1995, blended by No. 1 hits and accompanied by a hypnotizing visual graph.\u003c/p>\n\u003cp>Want to completely lose hours of your day? \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a>.\u003c/p>\n\u003cp>The graph starts out in a three-way battle for No. 1 that anyone listening to rap in 1995 will instantly remember: Notorious B.I.G.’s “Big Poppa,” Dr. Dre’s “Keep Their Heads Ringin'” and 2Pac’s “Dear Mama.” Numbers two through 10 bounce up and down as the graph scrolls along through time; some linger in the middle range for weeks (the Bay Area anthem “I Got 5 on It,” by the Luniz) and some shoot swiftly to the top (“How Do U Want It,” 2Pac) — or simply start right at No. 1 (“I’ll Be Missing You,” Puff Daddy’s tribute to Notorious B.I.G.). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg\" alt=\"bustarhymes\" width=\"1400\" height=\"736\" class=\"aligncenter size-full wp-image-11308734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-1180x620.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/bustarhymes-960x505.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>What’s incredible about the graph — and really, it’s \u003ca href=\"http://poly-graph.co/hiphop/\" target=\"_blank\" rel=\"noopener\">something\u003c/a> — is that it arranges our memories of certain song’ ubiquity into a visual understanding, complete with hearing the songs in chronological order, their duration dictated by weeks spent at No. 1. Remember 1999-2000, when you couldn’t stop hearing Missy Elliott’s “Hot Boyz” for 18 weeks? In the graph, “Hot Boyz” plays for 54 seconds, all through Y2K, before finally usurped by the Ying Yang Twins’ “Whistle While You Twurk.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another fun moment: when Billboard’s Hot Rap Chart changed their methodology to include digital downloads and streaming services such as YouTube, and Psy’s “Gangnam Style” shoots straight to No. 1 in October of 2012.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg\" alt=\"gangnamstyle\" width=\"1100\" height=\"579\" class=\"aligncenter size-full wp-image-11308735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-400x211.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gangnamstyle-960x505.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>Created by Polygraph’s Matthew Daniels (he also created the \u003ca href=\"http://poly-graph.co/vocabulary.html\" target=\"_blank\" rel=\"noopener\">Largest Vocabulary in Hip-Hop\u003c/a> graph) with assistance from Emily White and Trevor Anderson at Billboard, the page allows for scrolling through time and mouse-over information on every song. And while the player can start all the way back in 1989, at the genesis of the Hot Rap Chart, \u003ca href=\"https://www.reddit.com/r/InternetIsBeautiful/comments/44k9fa/listen_to_the_hip_hops_billboard_top_10_songs/\" target=\"_blank\" rel=\"noopener\">on Reddit\u003c/a> Daniels said it defaults to start in 1995 “because 1995 is, by most people, considered the end of the golden age of hip-hop. And it’s peak nostalgia for most people, so I figured it’d be a good place to kick off the timeline.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Added Daniels, “I’ll be making more soon for the Hot 100 and other genres.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Symphony Plays Music From NFL Films, Set to Football Highlight Reels",
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"content": "\u003cp>There were a lot of bros in sports jerseys at Davies Symphony Hall in San Francisco on Wednesday, carrying bottles of beer by the neck. A few passed a pint of Jack Daniels around as the chimes rang in the lobby, beckoning spectators to their seats.\u003c/p>\n\u003cp>Standing next to a window overlooking City Hall, seventh-graders Greg Kalman and Luke McMahan played an Xbox video game.\u003c/p>\n\u003cp>“Get ’em, get ’em, get ’em,” Greg said to the screen. “Oh, sack!”\u003c/p>\n\u003cp>The symphony set up the NFL Madden game in the lobby for its tribute to \"Super Bowl 50: Concert of Champions.\" Greg couldn’t believe it when his mom told him the symphony was going to play a night of football music, set to clips from football films.\u003c/p>\n\u003cp>“I was flabbergasted, I guess. I was like, are you joking?” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/245677077\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>[contextly_sidebar id=\"MqY5oOmhyQ24MsNSEP7MpNme7teFhZZX\"]\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the symphony hopes new audiences will leave the football program with a greater appreciation for music, Luke and Greg walked out with a greater appreciation for football.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were a lot of bros in sports jerseys at Davies Symphony Hall in San Francisco on Wednesday, carrying bottles of beer by the neck. A few passed a pint of Jack Daniels around as the chimes rang in the lobby, beckoning spectators to their seats.\u003c/p>\n\u003cp>Standing next to a window overlooking City Hall, seventh-graders Greg Kalman and Luke McMahan played an Xbox video game.\u003c/p>\n\u003cp>“Get ’em, get ’em, get ’em,” Greg said to the screen. “Oh, sack!”\u003c/p>\n\u003cp>The symphony set up the NFL Madden game in the lobby for its tribute to \"Super Bowl 50: Concert of Champions.\" Greg couldn’t believe it when his mom told him the symphony was going to play a night of football music, set to clips from football films.\u003c/p>\n\u003cp>“I was flabbergasted, I guess. I was like, are you joking?” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/245677077&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/245677077'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dan Hicks, San Francisco Folk Jazz Pioneer, Dead at 74",
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"content": "\u003cp>Dan Hicks, the wildly creative San Francisco singer-songwriter who, with his group Dan Hicks and the Hot Licks, had hits in the 1970s such as “I Scare Myself” and “Canned Music,” died Saturday after a two-year battle with cancer, \u003ca href=\"http://danhicks.net/\" target=\"_blank\" rel=\"noopener\">according to his website\u003c/a>. He was 74.\u003c/p>\n\u003cp>The news was made public via a message on social media from his wife, CT Hicks:\u003c/p>\n\u003cp>https://www.facebook.com/danhicksofficial/photos/a.10150157268112146.343733.48935042145/10153983825567146\u003c/p>\n\u003cp>Cited as an influence by Tom Waits and Elvis Costello, Hicks created his own unique sound that he described as “folk jazz,” but many critics found impossible — and improper — to label, as it managed to also incorporate elements of country, western swing, blue grass and several other genres. Hicks was also known for his witty lyrics, as evident in songs such as “\u003ca href=\"https://www.youtube.com/watch?v=rW9-FOLG-iA\" target=\"_blank\" rel=\"noopener\">How Can I Miss You When You Won’t Go Away?\u003c/a>”\u003c/p>\n\u003cp>“There is no one else who is as unique as he is. There’s no one else who sounds like Dan Hicks, who writes like him, who has that dry sense of humor, or has that manner onstage. He’s really one of a kind,” \u003cem>SF Weekly’s\u003c/em> Lawrence Kay \u003ca href=\"http://www.sfweekly.com/sanfrancisco/return-to-hicksville/Content?oid=2140531\" target=\"_blank\" rel=\"noopener\">wrote in 2000\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Little Rock, Ark. in 1941, his family would be relocated to Santa Rosa, Calif. when Hicks was five. Hicks began playing the drums as an adolescent and would later make a name for himself in San Francisco’s burgeoning folk scene in the 1960s. In 1965, Hicks would become the drummer for The Charlatans, who, along with groups such as the Jefferson Airplane and the Grateful Dead, would help define the city’s psychedelic sound. Later, rock historians would cite the group’s extended residency at the \u003ca href=\"https://web.archive.org/web/20080803183115/http://www.professorposter.com/seed.html\" target=\"_blank\" rel=\"noopener\">Red Dog Saloon in Nevada\u003c/a> in the summer of ’65 as being the precursor to San Francisco’s LSD-focused rock shows of the later ’60s because of the trippy rock posters used to advertise the residency, and the fact that the band would ingest psychedelic drugs while playing.\u003c/p>\n\u003cp>Hicks broke away from the Charlatans in 1968 to focus on his own group, Dan Hicks and the Hot Licks, which he started with violinist David LaFlamme, who would later go on to found another legendary San Francisco group, It’s A Beautiful Day. LaFlamme was replaced by “Symphony” Sid Page, whose heavily-jazz-influenced style would become a hallmark of Hicks’s sound, especially in tracks such as 1974’s “I Scare Myself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wBPIcZpFIk\u003c/p>\n\u003cp>The original lineup, which was drummer-less, would break up in 1971 after recording two albums, the first one \u003ci>Original Recordings\u003c/i> with producer Bob Johnston, who also worked with Bob Dylan, Johnny Cash and Leonard Cohen, among others. But it wouldn’t be long before Hicks would start up the group again and record two more albums, the last being \u003ci>Last Trainto Hicksville,\u003c/i> which was the first Hot Licks album with a drummer and garnered wide acclaim, even landeding Hicks on the cover of \u003ci>Rolling Stone.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11306872\" class=\"wp-caption alignright\" style=\"max-width: 365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dan-Hicks-Rolling-Stone-1973.jpg\" alt=\"Dan Hicks on the cover of 'Rolling Stone' in December of 1973.\" width=\"365\" height=\"500\" class=\"size-full wp-image-11306872\">\u003cfigcaption class=\"wp-caption-text\">Dan Hicks on the cover of ‘Rolling Stone’ in December of 1973. \u003ccite>(Photo: Annie Leibovitz/Rolling Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1974, with his fame on the rise, Hicks would break up the Hot Licks. When asked why that same year, Hicks was \u003ca href=\"https://en.wikipedia.org/wiki/Dan_Hicks_(singer)\" target=\"_blank\" rel=\"noopener\">quoted saying\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI didn’t want to be a bandleader anymore. It was a load and a load I didn’t want. I’m basically a loner… I like singing and stuff, but I didn’t necessarily want to be a bandleader\n\u003c/p>\u003c/blockquote>\n\u003cp>Over the next few decades, Hicks would continue to play out and record, playing by himself or with the Acoustic Warriors before reforming the Hot Licks in 2000. Before his death, Hicks would record 17 albums under his name. \u003c/p>\n\u003cp>Hicks was diagnosed with throat cancer in January of 2014, which lead to him canceling the majority of his shows while he underwent chemo therapy, but he still managed to play gigs that were important to him, such as the \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25748542/dan-hicks-ready-roll-after-cancer-treatments\" target=\"_blank\" rel=\"noopener\">Fats Waller Birthday Celebration at SFJAZZ that same summer\u003c/a>. One of the last shows he played, back in \u003ca href=\"http://sfsonic.com/concerts/dan-hicks-caucasian-hip-hop-for-hicksters/\" target=\"_blank\" rel=\"noopener\">February of last year at Yoshi’s\u003c/a>, sold out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dan Hicks, the wildly creative San Francisco singer-songwriter who, with his group Dan Hicks and the Hot Licks, had hits in the 1970s such as “I Scare Myself” and “Canned Music,” died Saturday after a two-year battle with cancer, \u003ca href=\"http://danhicks.net/\" target=\"_blank\" rel=\"noopener\">according to his website\u003c/a>. He was 74.\u003c/p>\n\u003cp>The news was made public via a message on social media from his wife, CT Hicks:\u003c/p>\n\u003cp>https://www.facebook.com/danhicksofficial/photos/a.10150157268112146.343733.48935042145/10153983825567146\u003c/p>\n\u003cp>Cited as an influence by Tom Waits and Elvis Costello, Hicks created his own unique sound that he described as “folk jazz,” but many critics found impossible — and improper — to label, as it managed to also incorporate elements of country, western swing, blue grass and several other genres. Hicks was also known for his witty lyrics, as evident in songs such as “\u003ca href=\"https://www.youtube.com/watch?v=rW9-FOLG-iA\" target=\"_blank\" rel=\"noopener\">How Can I Miss You When You Won’t Go Away?\u003c/a>”\u003c/p>\n\u003cp>“There is no one else who is as unique as he is. There’s no one else who sounds like Dan Hicks, who writes like him, who has that dry sense of humor, or has that manner onstage. He’s really one of a kind,” \u003cem>SF Weekly’s\u003c/em> Lawrence Kay \u003ca href=\"http://www.sfweekly.com/sanfrancisco/return-to-hicksville/Content?oid=2140531\" target=\"_blank\" rel=\"noopener\">wrote in 2000\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Little Rock, Ark. in 1941, his family would be relocated to Santa Rosa, Calif. when Hicks was five. Hicks began playing the drums as an adolescent and would later make a name for himself in San Francisco’s burgeoning folk scene in the 1960s. In 1965, Hicks would become the drummer for The Charlatans, who, along with groups such as the Jefferson Airplane and the Grateful Dead, would help define the city’s psychedelic sound. Later, rock historians would cite the group’s extended residency at the \u003ca href=\"https://web.archive.org/web/20080803183115/http://www.professorposter.com/seed.html\" target=\"_blank\" rel=\"noopener\">Red Dog Saloon in Nevada\u003c/a> in the summer of ’65 as being the precursor to San Francisco’s LSD-focused rock shows of the later ’60s because of the trippy rock posters used to advertise the residency, and the fact that the band would ingest psychedelic drugs while playing.\u003c/p>\n\u003cp>Hicks broke away from the Charlatans in 1968 to focus on his own group, Dan Hicks and the Hot Licks, which he started with violinist David LaFlamme, who would later go on to found another legendary San Francisco group, It’s A Beautiful Day. LaFlamme was replaced by “Symphony” Sid Page, whose heavily-jazz-influenced style would become a hallmark of Hicks’s sound, especially in tracks such as 1974’s “I Scare Myself.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2wBPIcZpFIk'\n title='//www.youtube.com/embed/2wBPIcZpFIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The original lineup, which was drummer-less, would break up in 1971 after recording two albums, the first one \u003ci>Original Recordings\u003c/i> with producer Bob Johnston, who also worked with Bob Dylan, Johnny Cash and Leonard Cohen, among others. But it wouldn’t be long before Hicks would start up the group again and record two more albums, the last being \u003ci>Last Trainto Hicksville,\u003c/i> which was the first Hot Licks album with a drummer and garnered wide acclaim, even landeding Hicks on the cover of \u003ci>Rolling Stone.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11306872\" class=\"wp-caption alignright\" style=\"max-width: 365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dan-Hicks-Rolling-Stone-1973.jpg\" alt=\"Dan Hicks on the cover of 'Rolling Stone' in December of 1973.\" width=\"365\" height=\"500\" class=\"size-full wp-image-11306872\">\u003cfigcaption class=\"wp-caption-text\">Dan Hicks on the cover of ‘Rolling Stone’ in December of 1973. \u003ccite>(Photo: Annie Leibovitz/Rolling Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1974, with his fame on the rise, Hicks would break up the Hot Licks. When asked why that same year, Hicks was \u003ca href=\"https://en.wikipedia.org/wiki/Dan_Hicks_(singer)\" target=\"_blank\" rel=\"noopener\">quoted saying\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI didn’t want to be a bandleader anymore. It was a load and a load I didn’t want. I’m basically a loner… I like singing and stuff, but I didn’t necessarily want to be a bandleader\n\u003c/p>\u003c/blockquote>\n\u003cp>Over the next few decades, Hicks would continue to play out and record, playing by himself or with the Acoustic Warriors before reforming the Hot Licks in 2000. Before his death, Hicks would record 17 albums under his name. \u003c/p>\n\u003cp>Hicks was diagnosed with throat cancer in January of 2014, which lead to him canceling the majority of his shows while he underwent chemo therapy, but he still managed to play gigs that were important to him, such as the \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25748542/dan-hicks-ready-roll-after-cancer-treatments\" target=\"_blank\" rel=\"noopener\">Fats Waller Birthday Celebration at SFJAZZ that same summer\u003c/a>. One of the last shows he played, back in \u003ca href=\"http://sfsonic.com/concerts/dan-hicks-caucasian-hip-hop-for-hicksters/\" target=\"_blank\" rel=\"noopener\">February of last year at Yoshi’s\u003c/a>, sold out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyonce, the queen of surprises, has graced us with another. No, not \u003ca href=\"http://ww2.kqed.org/pop/2013/12/13/the-genius-behind-beyonces-surprise-game-changing-visual-album-self-titled/\" target=\"_blank\">a whole album \u003c/a>this time, but a single called \"Formation\" and its music video. The song, which samples Big Freedia, is an homage to New Orleans. Look out for a Blue Ivy cameo. And if you want clothes featuring the best lyrics from the song, head on over to \u003ca href=\"http://shop.beyonce.com/\" target=\"_blank\">Bey's shop\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LrCHz1gwzTo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "'Secret' Show Alert: Third Eye Blind, Also Tired of Third Eye Blind, Plays SF Tonight as The Dazzleships",
"title": "'Secret' Show Alert: Third Eye Blind, Also Tired of Third Eye Blind, Plays SF Tonight as The Dazzleships",
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"content": "\u003cp>Third Eye Blind, the San Francisco pop-rock band who in 1997 became famous for the song \"Semi-Charmed Life\" (otherwise known as the song with the chorus that goes \u003cem>doo-doo-doo, doo-doo-doo-doo\u003c/em>) as well as a couple other '90s alt-rock tracks whose lyrics you might know whether you want to or not, is doing just fine. I know that singer Stephan Jenkins has a lovely house in Pac Heights and many friends, despite having \u003ca href=\"http://www.avclub.com/article/singer-songwriter-john-vanderslice-on-the-very-per-99379\" target=\"_blank\">made enemies with at least a few locals in the music industry. \u003c/a>Prior to the release of the band's fifth studio album, 2015's \u003cem>Dopamine\u003c/em>, they'd sold roughly 12 million records worldwide. And at 51, Jenkins is still considered a sex symbol...\u003ca href=\"http://noisey.vice.com/blog/a-first-date-with-stephan-jenkins-of-third-eye-blind\" target=\"_blank\">at least by\u003cem> VICE\u003c/em> writers\u003c/a>.\u003c/p>\n\u003cp>But sometimes, after five records and 20 years of fame, even bands like Third Eye Blind want -- well, \u003ca href=\"http://www.usmagazine.com/entertainment/news/stephan-jenkins-third-eye-blinds-next-album-will-be-our-last-2015275\" target=\"_blank\">something else\u003c/a>?\u003c/p>\n\u003cp>That's likely why they've spent the past week crafting an internet presence for a fake British band called \u003ca href=\"https://twitter.com/TheDazzleships\" target=\"_blank\">The Dazzleships\u003c/a>, which is actually just Third Eye Blind, possibly playing David Bowie covers, which according to tipsters is a thing that will be happening at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\">The Chapel\u003c/a> tonight, Friday, Feb. 5, at 9 pm.\u003c/p>\n\u003cp>https://twitter.com/TheDazzleships/status/694927052793729025\u003c/p>\n\u003cp>A zip around the band's five-day-old Twitter account reveals that it's mainly followed by members of Third Eye Blind, Third Eye Blind's management team, and people with Twitter handles like \"\u003ca href=\"https://twitter.com/Gina3eb\" target=\"_blank\">@Gina3eb\u003c/a>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jenkins & Co. even took the time to create \u003cem>multiple\u003c/em> fake Twitter accounts for various members of the band, such as Vic Bigley, \u003ca href=\"https://twitter.com/VicBigley\" target=\"_blank\">a drunk Brixtoner\u003c/a> who types in all caps to say \u003ca href=\"https://twitter.com/VicBigley/status/694709533201969153\" target=\"_blank\">\u003cem>hiiiii-larious\u003c/em> things like this\u003c/a>.\u003c/p>\n\u003cp>The band name, meanwhile, seems to be a reference to \u003ca href=\"https://en.wikipedia.org/wiki/Dazzle_Ships_(album)\" target=\"_blank\">an album by British New Wave / synth maestros OMD\u003c/a> -- a record that marked a new, experimental and ultimately unprofitable sound for that band, whose previous release had been a major commercial success. \u003cem>What is Third Eye Blind trying to tell us?\u003c/em>\u003c/p>\n\u003cp>While we ruminate on that, check out these other subtle, cheeky missives -- typed in cockney, of course!\u003c/p>\n\u003cp>https://twitter.com/TheDazzleships/status/694684193553412096\u003c/p>\n\u003cp>https://twitter.com/TheDazzleships/status/694778064916520960\u003c/p>\n\u003cp>So. Are you free tonight? Is this a thing you want to see? You should probably go\u003ca href=\"https://www.ticketfly.com/purchase/event/1075111?_ga=1.244009733.1881470409.1445904150&__utma=1.1881470409.1445904150.1454702485.1454707436.14&__utmb=1.1.10.1454707436&__utmc=1&__utmx=-&__utmz=1.1454702485.13.11.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=161765180\" target=\"_blank\"> buy tickets\u003c/a>. They're only $18, which is a lot less than $700, which is the GA ticket price to see Third Eye Blind tomorrow night, Feb. 6, at the \u003ca href=\"http://www.tasteofthenfl.com/\">25th Annual Taste of the NFL at the Cow Palace\u003c/a>. (Yes, I know it's a fundraiser.)\u003c/p>\n\u003cp>Bonus for tonight: Dancey folk-rock trio from San Francisco's Rin Tin Tiger and indie-pop from Oakland's Emily Afton will both serve as fine support. No, really. Those are both very good local artists and I have no reason nor desire to make fun of them whatsoever.\u003c/p>\n\u003cp>Ooh, also: If we're \u003cdel>lucky\u003c/del> \u003cdel>unlucky\u003c/del> I don't even know anymore, maybe they'll do this one too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HdcX5AwAEK8\u003c/p>\n\u003cp>\u003cem>[Full disclosure: This writer paid good money to see \u003ca href=\"http://www.wolfgangsvault.com/third-eye-blind/posters/poster/GRK981009.html\" target=\"_blank\">Third Eye Blind with Eve 6 in October of 1998\u003c/a> and has zero regrets.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Third Eye Blind, the San Francisco pop-rock band who in 1997 became famous for the song \"Semi-Charmed Life\" (otherwise known as the song with the chorus that goes \u003cem>doo-doo-doo, doo-doo-doo-doo\u003c/em>) as well as a couple other '90s alt-rock tracks whose lyrics you might know whether you want to or not, is doing just fine. I know that singer Stephan Jenkins has a lovely house in Pac Heights and many friends, despite having \u003ca href=\"http://www.avclub.com/article/singer-songwriter-john-vanderslice-on-the-very-per-99379\" target=\"_blank\">made enemies with at least a few locals in the music industry. \u003c/a>Prior to the release of the band's fifth studio album, 2015's \u003cem>Dopamine\u003c/em>, they'd sold roughly 12 million records worldwide. And at 51, Jenkins is still considered a sex symbol...\u003ca href=\"http://noisey.vice.com/blog/a-first-date-with-stephan-jenkins-of-third-eye-blind\" target=\"_blank\">at least by\u003cem> VICE\u003c/em> writers\u003c/a>.\u003c/p>\n\u003cp>But sometimes, after five records and 20 years of fame, even bands like Third Eye Blind want -- well, \u003ca href=\"http://www.usmagazine.com/entertainment/news/stephan-jenkins-third-eye-blinds-next-album-will-be-our-last-2015275\" target=\"_blank\">something else\u003c/a>?\u003c/p>\n\u003cp>That's likely why they've spent the past week crafting an internet presence for a fake British band called \u003ca href=\"https://twitter.com/TheDazzleships\" target=\"_blank\">The Dazzleships\u003c/a>, which is actually just Third Eye Blind, possibly playing David Bowie covers, which according to tipsters is a thing that will be happening at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\">The Chapel\u003c/a> tonight, Friday, Feb. 5, at 9 pm.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A zip around the band's five-day-old Twitter account reveals that it's mainly followed by members of Third Eye Blind, Third Eye Blind's management team, and people with Twitter handles like \"\u003ca href=\"https://twitter.com/Gina3eb\" target=\"_blank\">@Gina3eb\u003c/a>.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jenkins & Co. even took the time to create \u003cem>multiple\u003c/em> fake Twitter accounts for various members of the band, such as Vic Bigley, \u003ca href=\"https://twitter.com/VicBigley\" target=\"_blank\">a drunk Brixtoner\u003c/a> who types in all caps to say \u003ca href=\"https://twitter.com/VicBigley/status/694709533201969153\" target=\"_blank\">\u003cem>hiiiii-larious\u003c/em> things like this\u003c/a>.\u003c/p>\n\u003cp>The band name, meanwhile, seems to be a reference to \u003ca href=\"https://en.wikipedia.org/wiki/Dazzle_Ships_(album)\" target=\"_blank\">an album by British New Wave / synth maestros OMD\u003c/a> -- a record that marked a new, experimental and ultimately unprofitable sound for that band, whose previous release had been a major commercial success. \u003cem>What is Third Eye Blind trying to tell us?\u003c/em>\u003c/p>\n\u003cp>While we ruminate on that, check out these other subtle, cheeky missives -- typed in cockney, of course!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>So. Are you free tonight? Is this a thing you want to see? You should probably go\u003ca href=\"https://www.ticketfly.com/purchase/event/1075111?_ga=1.244009733.1881470409.1445904150&__utma=1.1881470409.1445904150.1454702485.1454707436.14&__utmb=1.1.10.1454707436&__utmc=1&__utmx=-&__utmz=1.1454702485.13.11.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=161765180\" target=\"_blank\"> buy tickets\u003c/a>. They're only $18, which is a lot less than $700, which is the GA ticket price to see Third Eye Blind tomorrow night, Feb. 6, at the \u003ca href=\"http://www.tasteofthenfl.com/\">25th Annual Taste of the NFL at the Cow Palace\u003c/a>. (Yes, I know it's a fundraiser.)\u003c/p>\n\u003cp>Bonus for tonight: Dancey folk-rock trio from San Francisco's Rin Tin Tiger and indie-pop from Oakland's Emily Afton will both serve as fine support. No, really. Those are both very good local artists and I have no reason nor desire to make fun of them whatsoever.\u003c/p>\n\u003cp>Ooh, also: If we're \u003cdel>lucky\u003c/del> \u003cdel>unlucky\u003c/del> I don't even know anymore, maybe they'll do this one too.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HdcX5AwAEK8'\n title='//www.youtube.com/embed/HdcX5AwAEK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>[Full disclosure: This writer paid good money to see \u003ca href=\"http://www.wolfgangsvault.com/third-eye-blind/posters/poster/GRK981009.html\" target=\"_blank\">Third Eye Blind with Eve 6 in October of 1998\u003c/a> and has zero regrets.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Here's Your Anti-Super Bowl Adele Cover, \"Hello Ed Lee\"",
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"content": "\u003cp>Another day, \u003ca href=\"http://www.eonline.com/news/714158/the-20-best-adele-hello-covers-we-found-on-youtube\" target=\"_blank\">another\u003c/a> \u003ca href=\"http://www.fuse.tv/2015/11/best-adele-hello-covers\" target=\"_blank\">Adele\u003c/a> \u003ca href=\"http://www.much.com/here-are-the-best-covers-of-adeles-hello-so-far/\" target=\"_blank\">cover\u003c/a>, \u003ca href=\"http://www.pri.org/stories/2015-12-18/you-need-listen-swahili-cover-hello\" target=\"_blank\">amirite\u003c/a>?\u003c/p>\n\u003cp>Except this one comes just in time for the \u003ca href=\"http://io9.gizmodo.com/quiz-fictional-dystopia-or-the-super-bowl-1757196751\" target=\"_blank\">fictional-dystopia-in-real-life\u003c/a> that is San Francisco during the Super Bowl: backroom deals, taxpayer-funded $4.8 million corporate playgrounds, a police-state atmosphere and dozens of homeless people swept aside for tourists. Go football!\u003c/p>\n\u003cp>\"Hello Ed Lee,\" a new video out today by singer-performance artist Candace Roberts, is an open letter to the mayor and an indictment of all of the above -- with a touchdown pass of San Francisco's untenable housing crisis thrown in for good measure. Set to the somber piano of Adele's \"Hello,\" Roberts' doesn't mince words:\u003c/p>\n\u003cp>\u003cem>Hello from the other side\u003cbr>\nThe Google bus don't give no rides\u003cbr>\nAnd I don't work for Twitter or Airbnb\u003cbr>\nSo I'm struggling to stay here, I'm down on my knees\u003c/em>\u003c/p>\n\u003cp>The video includes the \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\">homeless encampment\u003c/a> along Division Street, \u003ca href=\"http://ww2.kqed.org/news/2015/10/28/s-f-study-documents-sharp-decline-in-missions-latino-population\" target=\"_blank\">anti-eviction rallies\u003c/a> in the Mission, the \u003ca href=\"http://valleywag.gawker.com/dropbox-douchebags-tried-to-kick-children-off-a-soccer-1644947724\" target=\"_blank\">Dropbox soccer bro\u003c/a>, coverage of the \u003ca href=\"http://www.sfexaminer.com/dont-believe-the-super-bowl-50-hype-heres-why/\" target=\"_blank\">$4.8 million Super Bowl City\u003c/a>, a Bayview \u003ca href=\"http://www.cjjc.org/en/press/press-releases/639-bayview-families-march-on-third-street-for-blacklivesmatter-community-healing\" target=\"_blank\">Causa Justa::Just Cause\u003c/a> march protesting black displacement, and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the song's end, Roberts... moves to Vallejo! Take comfort, Candace: the Super Bowl parties in Vallejo are \u003ca href=\"https://www.youtube.com/watch?v=F3cfLnrgaA0\" target=\"_blank\">way cooler anyway\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qa9KZzYetD4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another day, \u003ca href=\"http://www.eonline.com/news/714158/the-20-best-adele-hello-covers-we-found-on-youtube\" target=\"_blank\">another\u003c/a> \u003ca href=\"http://www.fuse.tv/2015/11/best-adele-hello-covers\" target=\"_blank\">Adele\u003c/a> \u003ca href=\"http://www.much.com/here-are-the-best-covers-of-adeles-hello-so-far/\" target=\"_blank\">cover\u003c/a>, \u003ca href=\"http://www.pri.org/stories/2015-12-18/you-need-listen-swahili-cover-hello\" target=\"_blank\">amirite\u003c/a>?\u003c/p>\n\u003cp>Except this one comes just in time for the \u003ca href=\"http://io9.gizmodo.com/quiz-fictional-dystopia-or-the-super-bowl-1757196751\" target=\"_blank\">fictional-dystopia-in-real-life\u003c/a> that is San Francisco during the Super Bowl: backroom deals, taxpayer-funded $4.8 million corporate playgrounds, a police-state atmosphere and dozens of homeless people swept aside for tourists. Go football!\u003c/p>\n\u003cp>\"Hello Ed Lee,\" a new video out today by singer-performance artist Candace Roberts, is an open letter to the mayor and an indictment of all of the above -- with a touchdown pass of San Francisco's untenable housing crisis thrown in for good measure. Set to the somber piano of Adele's \"Hello,\" Roberts' doesn't mince words:\u003c/p>\n\u003cp>\u003cem>Hello from the other side\u003cbr>\nThe Google bus don't give no rides\u003cbr>\nAnd I don't work for Twitter or Airbnb\u003cbr>\nSo I'm struggling to stay here, I'm down on my knees\u003c/em>\u003c/p>\n\u003cp>The video includes the \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\">homeless encampment\u003c/a> along Division Street, \u003ca href=\"http://ww2.kqed.org/news/2015/10/28/s-f-study-documents-sharp-decline-in-missions-latino-population\" target=\"_blank\">anti-eviction rallies\u003c/a> in the Mission, the \u003ca href=\"http://valleywag.gawker.com/dropbox-douchebags-tried-to-kick-children-off-a-soccer-1644947724\" target=\"_blank\">Dropbox soccer bro\u003c/a>, coverage of the \u003ca href=\"http://www.sfexaminer.com/dont-believe-the-super-bowl-50-hype-heres-why/\" target=\"_blank\">$4.8 million Super Bowl City\u003c/a>, a Bayview \u003ca href=\"http://www.cjjc.org/en/press/press-releases/639-bayview-families-march-on-third-street-for-blacklivesmatter-community-healing\" target=\"_blank\">Causa Justa::Just Cause\u003c/a> march protesting black displacement, and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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