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"content": "\u003cp>Since the ancient Greeks knew everything, they were aware of the curse of immense talent; of the hubris that often accompanies it and the dangers of how it can tempt you to fly too close to the sun. Their heroes became heroes in failure and disgrace.\u003c/p>\n\u003cp>Watch Louis Armstrong stagger into his dressing room in Terry Teachout’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> currently playing at the American Conservatory Theater’s Geary Stage and you know everything you need to know about how talent and fame can wreck a body and soul. But a more intriguing entrance is Taylor Mac’s in his crazily conceived, \u003cem>\u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">A 24 Decade History of Popular Music\u003c/a>, \u003c/em>on view next door at The Curran.\u003c/p>\n\u003cp>In the balcony of the Curran, as we sit on the stage and wait just a bit too long for the evening to begin, a spotlight catches Mac in a pose of ridiculous splendor. His three-foot headdress is a rainbow mass of tinkled color; his pose strangely reminiscent of the Statue of Liberty; his dress, unwieldy, garish, and beautiful. Somehow you know that the performer means to devour everything in front of him.\u003c/p>\n\u003cfigure id=\"attachment_11280234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280234 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg\" alt=\"Taylor Mac 1 - (c) Jim Norrena\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac, regally splendid, in his ‘A 24 Decade History of American Music.’ Photo: Jim Norrena\u003c/figcaption>\u003c/figure>\n\u003cp>Yet no matter how ferocious Mac’s assault on American song, he is clearly destined to fail—he can’t even make it to the stage without tripping over himself. And that awareness of our shared fragility is a cunning theatrical gambit. Mac turns the tragic into a state of being — thrilling, alive, and ripe for discovery. And what an odd tragedy it is: the first three hours of an eventual 24 hour performance of American popular music, decade-by-decade starting in 1776. (Mac plans to perform the show in its entirety in New York in October.) Like America itself, the pure folly of Mac’s vision is a headlong rush into disaster.\u003c/p>\n\u003cp>The first song of the evening is “Amazing Grace” and that signals Mac’s immense ambitions. The set up might seem like a joke, but there’s nothing sly or arch about the vocalist’s singing. Mac has great comic timing and often just feels funny. But the power and nimbleness of his voice ventures into wildly different registers. He sings like a hero. And you can’t quite catch whether Mac is more interested in sacrifice or salvation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So as he cycles through these old American hits, that tension takes on a peculiarly philosophical hew. Mac somehow turns “Yankee Doodle Dandy” into a founding text of American thinking, and then a rueful comment on his own drag. He weaves Thomas Paine’s “Common Sense” into song and uncovers the conflicting emotion in the 18th century political activist’s ideas that have split the country ever since.\u003c/p>\n\u003cp>His rendition of the dark folk hymn “I Will” catches the country’s vaulting ambitions and the human cost that it has always demanded. Mac is slight, lithe and sinewy, and you can’t help but think that he has felt the pain of living in a culture that values immensity. Yet here he is before us, becoming grander and grander and grander. He’s the strangest and most aware daughter of the revolution we could ever hope for.\u003c/p>\n\u003cp>Pitched somewhere between revival meeting, art stunt, philosophical lecture, and concert, Mac’s vision is full and alive even in this early state of development. You can feel something immense being born and rumbling towards its eventual destruction. Mac’s a brutal dandy intent on embracing the whole of the country in song and proclaiming, “This is mine!” And then, with greater feeling and Woody Guthrie in the distance, his performance screams “This is ours!” How will we not turn on him? How will he not turn on himself? We’ll see. As for now, his ascension is thrilling theater.\u003c/p>\n\u003cfigure id=\"attachment_11280235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280235 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-800x537.jpg\" alt=\"OBIE Award–winning John Douglas Thompson in Terry Teachout's Satchmo at the Waldorf playing at A.C.T.'s Geary Theater January 13–February 7. Photo by T. Charles Erickson.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Armstrong (John Douglas Thompson) in his Waldorf dressing room in Terry Teachout’s ‘Satchmo at the Waldorf.’ Photo: T. Charles Erickson.\u003c/figcaption>\u003c/figure>\n\u003cp>We all turned on Louis Armstrong. We had to. What made the iconic trumpeter and singer great was so viciously entwined in the brutal legacy of slavery, Jim Crow laws, and the casual network of political, social, and cultural violence, that he became a necessary victim of changing times. Armstrong’s immense musical talent—he perfected both the jazz solo and scat singing—was chained to a minstrel tradition that he couldn’t help but embrace. It was just too much a part of him, like a diamond permanently encrusted in shit.\u003c/p>\n\u003cp>If you want to see what a stunning contradiction Armstrong could be, watch the 1932 short, \u003cem>Rhapsody in Black and Blue\u003c/em>. His acting and affect are all minstrel show. But when he blows that trumpet you feel the presence of another soul, a different way of being, a way forward. It was as if he was speaking two competing languages that had nothing in common.\u003c/p>\n\u003cp>In the opening moments of Terry Teachout’s \u003cem>Satchmo at the Waldorf\u003c/em>, Armstrong shoves an oxygen mask to his face. The image feels right: How could that man even breathe by the end of his life? And at that moment we’re ready for an exorcism. We want to rip him open to see if there’s anything there, to get at the talent and the embarrassment and the degradation of what Armstrong was.\u003c/p>\n\u003cp>John Douglas Thompson not only plays Armstrong, but also Miles Davis, Dizzy Gillespie, and Armstrong’s white manager, the mob-connected Joe Glaser. The Canadian-American actor has received great praise for his performance, and Thompson is clearly superb in the role. But what’s he really performing? What has \u003cem>Wall Street Journal\u003c/em> theater critic, Armstrong biographer, and first-time playwright Teachout given him to do? I would say nothing. The Armstrong he plays is the one we saw, an Uncle Tom with otherworldly talent. It’s an imitation game. And that’s not enough.\u003c/p>\n\u003cp>Teachout knows the facts. But what the dramatist doesn’t have is any feeling for the disaster of what Armstrong was. By letting him tell his own story—with a few mild critical asides from Davis and Gillespie—he misses the vastness and complexity of a life that somehow represented and continues to haunt the racial imagination of this country. Teachout might understand that intellectually, but he lacks the skill and imagination to bring any of it to theatrical life.\u003c/p>\n\u003cp>When Armstrong finally leaves the stage with his vaunted optimism in tact, the opening night crowd mightily applauded. But it was a false triumph, one that felt like a betrayal of everything Armstrong achieved and everything that made him an embarrassment. To bury conflict in reconciliation is to turn tragedy into kitsch. But what would you expect from a genre as hoary as the celebrity solo show? If Teachout learned anything from Armstrong, it is the ability to pander without regret. And for that we should bow our heads and refuse to clap.\u003c/p>\n\u003cp>So what we have in these wildly different productions are two iconic images of America: the Drag Queen and the King of Jazz. And like in chess, it is the Queen who has all the moves and daring, while the King plods from square to square dodging pawns. Maybe one day, or perhaps even towards the end of \u003cem>A 24 Decade History of Popular Music\u003c/em>, Taylor Mac might play Louis Armstrong and set the famed jazz musician free in all his talent and ugliness. Then, and only then, might we feel the truth of Armstrong and the sting and pleasures of a real American tragedy.\u003c/p>\n\u003cp>\u003cstrong>The first six hours, or decades, of Taylor Mac’s \u003cem>A 24 Decade History of Popular Music\u003c/em> plays through Saturday, Jan. 30 at the Curran Theater in San Francisco. For tickets and information visit www.sfcurran.com.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Satchmo at the Waldorf\u003c/em> plays at A.C.T.’s Geary Theater in San Francisco through Sunday, Feb. 7. For tickets and information visit www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the ancient Greeks knew everything, they were aware of the curse of immense talent; of the hubris that often accompanies it and the dangers of how it can tempt you to fly too close to the sun. Their heroes became heroes in failure and disgrace.\u003c/p>\n\u003cp>Watch Louis Armstrong stagger into his dressing room in Terry Teachout’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> currently playing at the American Conservatory Theater’s Geary Stage and you know everything you need to know about how talent and fame can wreck a body and soul. But a more intriguing entrance is Taylor Mac’s in his crazily conceived, \u003cem>\u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">A 24 Decade History of Popular Music\u003c/a>, \u003c/em>on view next door at The Curran.\u003c/p>\n\u003cp>In the balcony of the Curran, as we sit on the stage and wait just a bit too long for the evening to begin, a spotlight catches Mac in a pose of ridiculous splendor. His three-foot headdress is a rainbow mass of tinkled color; his pose strangely reminiscent of the Statue of Liberty; his dress, unwieldy, garish, and beautiful. Somehow you know that the performer means to devour everything in front of him.\u003c/p>\n\u003cfigure id=\"attachment_11280234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280234 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg\" alt=\"Taylor Mac 1 - (c) Jim Norrena\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac, regally splendid, in his ‘A 24 Decade History of American Music.’ Photo: Jim Norrena\u003c/figcaption>\u003c/figure>\n\u003cp>Yet no matter how ferocious Mac’s assault on American song, he is clearly destined to fail—he can’t even make it to the stage without tripping over himself. And that awareness of our shared fragility is a cunning theatrical gambit. Mac turns the tragic into a state of being — thrilling, alive, and ripe for discovery. And what an odd tragedy it is: the first three hours of an eventual 24 hour performance of American popular music, decade-by-decade starting in 1776. (Mac plans to perform the show in its entirety in New York in October.) Like America itself, the pure folly of Mac’s vision is a headlong rush into disaster.\u003c/p>\n\u003cp>The first song of the evening is “Amazing Grace” and that signals Mac’s immense ambitions. The set up might seem like a joke, but there’s nothing sly or arch about the vocalist’s singing. Mac has great comic timing and often just feels funny. But the power and nimbleness of his voice ventures into wildly different registers. He sings like a hero. And you can’t quite catch whether Mac is more interested in sacrifice or salvation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So as he cycles through these old American hits, that tension takes on a peculiarly philosophical hew. Mac somehow turns “Yankee Doodle Dandy” into a founding text of American thinking, and then a rueful comment on his own drag. He weaves Thomas Paine’s “Common Sense” into song and uncovers the conflicting emotion in the 18th century political activist’s ideas that have split the country ever since.\u003c/p>\n\u003cp>His rendition of the dark folk hymn “I Will” catches the country’s vaulting ambitions and the human cost that it has always demanded. Mac is slight, lithe and sinewy, and you can’t help but think that he has felt the pain of living in a culture that values immensity. Yet here he is before us, becoming grander and grander and grander. He’s the strangest and most aware daughter of the revolution we could ever hope for.\u003c/p>\n\u003cp>Pitched somewhere between revival meeting, art stunt, philosophical lecture, and concert, Mac’s vision is full and alive even in this early state of development. You can feel something immense being born and rumbling towards its eventual destruction. Mac’s a brutal dandy intent on embracing the whole of the country in song and proclaiming, “This is mine!” And then, with greater feeling and Woody Guthrie in the distance, his performance screams “This is ours!” How will we not turn on him? How will he not turn on himself? We’ll see. As for now, his ascension is thrilling theater.\u003c/p>\n\u003cfigure id=\"attachment_11280235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280235 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-800x537.jpg\" alt=\"OBIE Award–winning John Douglas Thompson in Terry Teachout's Satchmo at the Waldorf playing at A.C.T.'s Geary Theater January 13–February 7. Photo by T. Charles Erickson.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Armstrong (John Douglas Thompson) in his Waldorf dressing room in Terry Teachout’s ‘Satchmo at the Waldorf.’ Photo: T. Charles Erickson.\u003c/figcaption>\u003c/figure>\n\u003cp>We all turned on Louis Armstrong. We had to. What made the iconic trumpeter and singer great was so viciously entwined in the brutal legacy of slavery, Jim Crow laws, and the casual network of political, social, and cultural violence, that he became a necessary victim of changing times. Armstrong’s immense musical talent—he perfected both the jazz solo and scat singing—was chained to a minstrel tradition that he couldn’t help but embrace. It was just too much a part of him, like a diamond permanently encrusted in shit.\u003c/p>\n\u003cp>If you want to see what a stunning contradiction Armstrong could be, watch the 1932 short, \u003cem>Rhapsody in Black and Blue\u003c/em>. His acting and affect are all minstrel show. But when he blows that trumpet you feel the presence of another soul, a different way of being, a way forward. It was as if he was speaking two competing languages that had nothing in common.\u003c/p>\n\u003cp>In the opening moments of Terry Teachout’s \u003cem>Satchmo at the Waldorf\u003c/em>, Armstrong shoves an oxygen mask to his face. The image feels right: How could that man even breathe by the end of his life? And at that moment we’re ready for an exorcism. We want to rip him open to see if there’s anything there, to get at the talent and the embarrassment and the degradation of what Armstrong was.\u003c/p>\n\u003cp>John Douglas Thompson not only plays Armstrong, but also Miles Davis, Dizzy Gillespie, and Armstrong’s white manager, the mob-connected Joe Glaser. The Canadian-American actor has received great praise for his performance, and Thompson is clearly superb in the role. But what’s he really performing? What has \u003cem>Wall Street Journal\u003c/em> theater critic, Armstrong biographer, and first-time playwright Teachout given him to do? I would say nothing. The Armstrong he plays is the one we saw, an Uncle Tom with otherworldly talent. It’s an imitation game. And that’s not enough.\u003c/p>\n\u003cp>Teachout knows the facts. But what the dramatist doesn’t have is any feeling for the disaster of what Armstrong was. By letting him tell his own story—with a few mild critical asides from Davis and Gillespie—he misses the vastness and complexity of a life that somehow represented and continues to haunt the racial imagination of this country. Teachout might understand that intellectually, but he lacks the skill and imagination to bring any of it to theatrical life.\u003c/p>\n\u003cp>When Armstrong finally leaves the stage with his vaunted optimism in tact, the opening night crowd mightily applauded. But it was a false triumph, one that felt like a betrayal of everything Armstrong achieved and everything that made him an embarrassment. To bury conflict in reconciliation is to turn tragedy into kitsch. But what would you expect from a genre as hoary as the celebrity solo show? If Teachout learned anything from Armstrong, it is the ability to pander without regret. And for that we should bow our heads and refuse to clap.\u003c/p>\n\u003cp>So what we have in these wildly different productions are two iconic images of America: the Drag Queen and the King of Jazz. And like in chess, it is the Queen who has all the moves and daring, while the King plods from square to square dodging pawns. Maybe one day, or perhaps even towards the end of \u003cem>A 24 Decade History of Popular Music\u003c/em>, Taylor Mac might play Louis Armstrong and set the famed jazz musician free in all his talent and ugliness. Then, and only then, might we feel the truth of Armstrong and the sting and pleasures of a real American tragedy.\u003c/p>\n\u003cp>\u003cstrong>The first six hours, or decades, of Taylor Mac’s \u003cem>A 24 Decade History of Popular Music\u003c/em> plays through Saturday, Jan. 30 at the Curran Theater in San Francisco. For tickets and information visit www.sfcurran.com.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Satchmo at the Waldorf\u003c/em> plays at A.C.T.’s Geary Theater in San Francisco through Sunday, Feb. 7. For tickets and information visit www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Philadelphia city councilman is hearing boos for a proposal that would seemingly give police the authority to approve which bands, rappers and DJs can perform in certain venues.\u003c/p>\n\u003cp>The bill proposed by Councilman Mark Squilla last week would require restaurants, nightclubs and bars accommodating 50 people or more to collect contact information for all performers. They would be required to give the information to police, if asked. Police would then decide whether they get a license to perform.\u003c/p>\n\u003cp>The proposal unleashed an outcry by musicians and fans on social media.\u003c/p>\n\u003cp>The Districts, a rock band from central Pennsylvania, tweeted a link to a Change.org petition against the bill, saying, “This bill must be stopped! Please read, sign and keep #PhillyMusic alive and well!”\u003c/p>\n\u003cp>In a statement on his Facebook page, Squilla said the bill is being misinterpreted and isn’t intended to restrict artistic expression but to address public safety issues by closing a loophole that has allowed venues to operate without a license.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We learned that some operators were able to avoid obtaining (a license) because there was no live music or a DJ but music was streaming or playing from an iPod or iPad,” he said. “This bill now includes such amplified recorded music.”\u003c/p>\n\u003cp>The Philadelphia Police Department’s legal adviser told the \u003cem>Philadelphia Inquirer\u003c/em> on Thursday that the provision giving police final approval on licenses was “a mistake” and the department doesn’t want that role.\u003c/p>\n\u003cp>“Don’t think the Philadelphia police department wants anything to do with approving acts. We don’t want to be involved in this. People have First Amendment rights,” Capt. Francis Healy said. “We never asked for it.”\u003c/p>\n\u003cp>Healy said the current system — where the Department of Licenses and Inspections consults the Police Department on licensing — works well.\u003c/p>\n\u003cp>Squilla said he would consider changes “as suggested by concerned parties.”\u003c/p>\n\u003cp>In September, there was a fatal shooting in his district a few doors down from the Theatre of Living Arts as fans were arriving for a rap show featuring Lil Durk. However, Squilla has said the bill is not in response to any particular incident.\u003c/p>\n\u003cp>Mary Catherine Roper, deputy legal director for the ACLU of Pennsylvania, told the Inquirer: “When police make lists, Americans get nervous.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"title": "Councilman Sparks Outcry with Musician, DJ Registry Proposal | KQED",
"description": "A Philadelphia city councilman is hearing boos for a proposal that would seemingly give police the authority to approve which bands, rappers and DJs can perform in certain venues. The bill proposed by Councilman Mark Squilla last week would require restaurants, nightclubs and bars accommodating 50 people or more to collect contact information for all performers. They would be required to give the information to police, if asked. Police would then decide whether they get a license to perform. The proposal unleashed an outcry by musicians and fans on social media. The Districts, a rock band from central Pennsylvania, tweeted",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Philadelphia city councilman is hearing boos for a proposal that would seemingly give police the authority to approve which bands, rappers and DJs can perform in certain venues.\u003c/p>\n\u003cp>The bill proposed by Councilman Mark Squilla last week would require restaurants, nightclubs and bars accommodating 50 people or more to collect contact information for all performers. They would be required to give the information to police, if asked. Police would then decide whether they get a license to perform.\u003c/p>\n\u003cp>The proposal unleashed an outcry by musicians and fans on social media.\u003c/p>\n\u003cp>The Districts, a rock band from central Pennsylvania, tweeted a link to a Change.org petition against the bill, saying, “This bill must be stopped! Please read, sign and keep #PhillyMusic alive and well!”\u003c/p>\n\u003cp>In a statement on his Facebook page, Squilla said the bill is being misinterpreted and isn’t intended to restrict artistic expression but to address public safety issues by closing a loophole that has allowed venues to operate without a license.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We learned that some operators were able to avoid obtaining (a license) because there was no live music or a DJ but music was streaming or playing from an iPod or iPad,” he said. “This bill now includes such amplified recorded music.”\u003c/p>\n\u003cp>The Philadelphia Police Department’s legal adviser told the \u003cem>Philadelphia Inquirer\u003c/em> on Thursday that the provision giving police final approval on licenses was “a mistake” and the department doesn’t want that role.\u003c/p>\n\u003cp>“Don’t think the Philadelphia police department wants anything to do with approving acts. We don’t want to be involved in this. People have First Amendment rights,” Capt. Francis Healy said. “We never asked for it.”\u003c/p>\n\u003cp>Healy said the current system — where the Department of Licenses and Inspections consults the Police Department on licensing — works well.\u003c/p>\n\u003cp>Squilla said he would consider changes “as suggested by concerned parties.”\u003c/p>\n\u003cp>In September, there was a fatal shooting in his district a few doors down from the Theatre of Living Arts as fans were arriving for a rap show featuring Lil Durk. However, Squilla has said the bill is not in response to any particular incident.\u003c/p>\n\u003cp>Mary Catherine Roper, deputy legal director for the ACLU of Pennsylvania, told the Inquirer: “When police make lists, Americans get nervous.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, I \u003ca href=\"http://ww2.kqed.org/arts/2016/01/21/qa-stewart-brand-revisits-the-trips-festival-50-years-later/\" target=\"_blank\" rel=\"noopener\">talked with\u003c/a> Stewart Brand, one of the founders of the Trips Festival. Occurring 50 years ago this month, the Trips Festival brought together poets, rock bands, gymnasts, authors, dancers and more in a giant LSD-fueled experiment that Brand characterized as getting a bunch of interesting people together and “turn[ing] up the flame.”\u003c/p>\n\u003cp>Plenty of things grew out of the Trips Festival, but the one Brand mentioned first was the idea of “no spectators.” In his words: “The idea that an audience shows up to a certain kind of event expecting to \u003cem>do\u003c/em> something, not just to see something.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hc0o9CBPkIA\u003c/p>\n\u003cp>Participatory art endeavors were once limited to performance art; now, as rave culture and Burning Man have transformed the concept of an “audience,” they’ve grown into entire movements. So it’s a little strange to be walking around a huge outdoor indie-rock festival and see crowds of thousands just… \u003cem>standing there.\u003c/em>\u003c/p>\n\u003cp>That is, unless the person on stage is Dan Deacon. Hailing from Baltimore and looking more like a calculus teacher than a rock star, Deacon performs a thick, bass-heavy style of indie dance music that’s as intricate as it is dance-inducing — except when Deacon implores his fans \u003cem>not\u003c/em> to dance. Indeed, it’s not uncommon to see a crowd at his shows sitting around in a circle on the floor like a kindergarten class, following the dictates of Deacon’s experimental game where he plays the audience like an instrument unto itself. Then, always, he lets them explode.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/6L0CXCSSRC/\u003c/p>\n\u003cp>Musically, Deacon’s most accessible album \u003cem>America\u003c/em> — a battering ram of joyful blown-out beats, complex harmonic structure and catchy 1-4-5 progressions — gave way to 2015’s \u003cem>Gliss Riffer\u003c/em>, which finds the musician, who has performed at Carnegie Hall, inspired by 20th century classical music. In fact, around the album’s release, Deacon paid tribute to \u003ca href=\"http://www.bohemian.com/northbay/morning-glory/Content?oid=2175326\" target=\"_blank\" rel=\"noopener\">player-piano iconoclast Conlon Nancarrow\u003c/a> at the Exploratorium in San Francisco. But Deacon’s most direct psychological ancestor in that realm, clearly, is John Cage, a composer who utilized the audience, and their expectations, as elements in his own performances. (Another ancestor, really, could be Brand and \u003ca href=\"https://killscreen.com/articles/inside-failed-utopian-new-games-movement/\" target=\"_blank\" rel=\"noopener\">his involvement in the ‘New Games’ movement\u003c/a>.)\u003c/p>\n\u003cp>Dan Deacon appears Friday, Jan. 29, at the Fillmore auditorium — which, coincidentally, is the ballroom that Bill Graham began booking just weeks after witnessing the success of audience participation at the Trips Festival. The Merry Pranksters would be proud. \u003ca href=\"http://www.voicesofeastanglia.com/2012/05/bill-graham-impresario-extraordinaire.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>Other shows of note this week:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280578\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg\" alt=\"Metroboomin\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29: Metro Boomin at 1015 Folsom.\u003c/strong> The hip-hop producer of the moment (Future, Travis Scott, Young Thug) was last seen in SF tearing down the Warfield with a remix of “Blood on the Leaves” to a packed crowd; this club show at 1015 should be lit. \u003ca href=\"http://1015.com/events/01-29-2016/metro-boomin/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280579\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg\" alt=\"hamiettbluiett\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: Hamiet Bluiett at Eastside Arts Alliance.\u003c/strong> The reigning king of jazz baritone saxophone, Bluiett’s played with Charles Mingus, Sam Rivers, Anthony Braxton and more; he’s also a founding member of the World Saxophone Quartet. In Oakland, he plays with longtime collaborator Craig Harris in Kahil El’Zabar’s Ethnic Heritage Ensemble. \u003ca href=\"http://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg\" alt=\"johnvanderslice\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice.jpg 641w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: The Bay Bridged Anniversary Party at the Rickshaw Stop.\u003c/strong> The Bay Bridged team contributes a monthly mixtape podcast to us here at KQED, and if you’ve heard it, you know they have good taste in local indie rock. The Stone Foxes, John Vanderslice, Annie Girl & the Flight and Hot Flash Heat Wave help them celebrate a decade of doin’ it up. \u003ca href=\"https://www.ticketfly.com/purchase/event/1027801\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280581\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg\" alt=\"juliaholter\" width=\"400\" height=\"329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Julia Holter at the Chapel.\u003c/strong> If you need an introduction to Holter’s ethereal music, give a listen to \u003ca href=\"https://www.youtube.com/watch?v=dtp-Vl90uDU\" target=\"_blank\" rel=\"noopener\">her version of Barbara Lewis’ soul hit “Hello Stranger”\u003c/a> and try to tell me she’s not capable of altering the world around us. Her latest, \u003cem>Have You In My Wilderness\u003c/em>, continues the enchantment. \u003ca href=\"http://www.thechapelsf.com/event/1010027-julia-holter-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, I \u003ca href=\"http://ww2.kqed.org/arts/2016/01/21/qa-stewart-brand-revisits-the-trips-festival-50-years-later/\" target=\"_blank\" rel=\"noopener\">talked with\u003c/a> Stewart Brand, one of the founders of the Trips Festival. Occurring 50 years ago this month, the Trips Festival brought together poets, rock bands, gymnasts, authors, dancers and more in a giant LSD-fueled experiment that Brand characterized as getting a bunch of interesting people together and “turn[ing] up the flame.”\u003c/p>\n\u003cp>Plenty of things grew out of the Trips Festival, but the one Brand mentioned first was the idea of “no spectators.” In his words: “The idea that an audience shows up to a certain kind of event expecting to \u003cem>do\u003c/em> something, not just to see something.”\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/hc0o9CBPkIA'\n title='//www.youtube.com/embed/hc0o9CBPkIA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Participatory art endeavors were once limited to performance art; now, as rave culture and Burning Man have transformed the concept of an “audience,” they’ve grown into entire movements. So it’s a little strange to be walking around a huge outdoor indie-rock festival and see crowds of thousands just… \u003cem>standing there.\u003c/em>\u003c/p>\n\u003cp>That is, unless the person on stage is Dan Deacon. Hailing from Baltimore and looking more like a calculus teacher than a rock star, Deacon performs a thick, bass-heavy style of indie dance music that’s as intricate as it is dance-inducing — except when Deacon implores his fans \u003cem>not\u003c/em> to dance. Indeed, it’s not uncommon to see a crowd at his shows sitting around in a circle on the floor like a kindergarten class, following the dictates of Deacon’s experimental game where he plays the audience like an instrument unto itself. Then, always, he lets them explode.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musically, Deacon’s most accessible album \u003cem>America\u003c/em> — a battering ram of joyful blown-out beats, complex harmonic structure and catchy 1-4-5 progressions — gave way to 2015’s \u003cem>Gliss Riffer\u003c/em>, which finds the musician, who has performed at Carnegie Hall, inspired by 20th century classical music. In fact, around the album’s release, Deacon paid tribute to \u003ca href=\"http://www.bohemian.com/northbay/morning-glory/Content?oid=2175326\" target=\"_blank\" rel=\"noopener\">player-piano iconoclast Conlon Nancarrow\u003c/a> at the Exploratorium in San Francisco. But Deacon’s most direct psychological ancestor in that realm, clearly, is John Cage, a composer who utilized the audience, and their expectations, as elements in his own performances. (Another ancestor, really, could be Brand and \u003ca href=\"https://killscreen.com/articles/inside-failed-utopian-new-games-movement/\" target=\"_blank\" rel=\"noopener\">his involvement in the ‘New Games’ movement\u003c/a>.)\u003c/p>\n\u003cp>Dan Deacon appears Friday, Jan. 29, at the Fillmore auditorium — which, coincidentally, is the ballroom that Bill Graham began booking just weeks after witnessing the success of audience participation at the Trips Festival. The Merry Pranksters would be proud. \u003ca href=\"http://www.voicesofeastanglia.com/2012/05/bill-graham-impresario-extraordinaire.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>Other shows of note this week:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280578\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg\" alt=\"Metroboomin\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Metroboomin.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29: Metro Boomin at 1015 Folsom.\u003c/strong> The hip-hop producer of the moment (Future, Travis Scott, Young Thug) was last seen in SF tearing down the Warfield with a remix of “Blood on the Leaves” to a packed crowd; this club show at 1015 should be lit. \u003ca href=\"http://1015.com/events/01-29-2016/metro-boomin/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280579\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg\" alt=\"hamiettbluiett\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/hamiettbluiett.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: Hamiet Bluiett at Eastside Arts Alliance.\u003c/strong> The reigning king of jazz baritone saxophone, Bluiett’s played with Charles Mingus, Sam Rivers, Anthony Braxton and more; he’s also a founding member of the World Saxophone Quartet. In Oakland, he plays with longtime collaborator Craig Harris in Kahil El’Zabar’s Ethnic Heritage Ensemble. \u003ca href=\"http://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg\" alt=\"johnvanderslice\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/johnvanderslice.jpg 641w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 30: The Bay Bridged Anniversary Party at the Rickshaw Stop.\u003c/strong> The Bay Bridged team contributes a monthly mixtape podcast to us here at KQED, and if you’ve heard it, you know they have good taste in local indie rock. The Stone Foxes, John Vanderslice, Annie Girl & the Flight and Hot Flash Heat Wave help them celebrate a decade of doin’ it up. \u003ca href=\"https://www.ticketfly.com/purchase/event/1027801\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11280581\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg\" alt=\"juliaholter\" width=\"400\" height=\"329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter-400x329.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/juliaholter.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Julia Holter at the Chapel.\u003c/strong> If you need an introduction to Holter’s ethereal music, give a listen to \u003ca href=\"https://www.youtube.com/watch?v=dtp-Vl90uDU\" target=\"_blank\" rel=\"noopener\">her version of Barbara Lewis’ soul hit “Hello Stranger”\u003c/a> and try to tell me she’s not capable of altering the world around us. Her latest, \u003cem>Have You In My Wilderness\u003c/em>, continues the enchantment. \u003ca href=\"http://www.thechapelsf.com/event/1010027-julia-holter-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Fourteen San Francisco Bands to Watch in 2016",
"headTitle": "Mixtape: Fourteen San Francisco Bands to Watch in 2016 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Bands to Watch in 2016.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bands_to_Watch_2016.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Every year, it’s an exciting challenge to compile our “Bands to Watch” mixtape: exciting because it heralds another year of great music from the Bay Area’s rising stars, and a challenge because there are far too many young acts worth including. This year’s mix of bands collects fourteen artists from around the Bay Area — notably, all of them are new to the Bay Bridged podcast, offering forward-thinking bedroom pop, stripped-down singer-songwriter tunes, energized hip-hop, and loud rock ‘n’ roll.\u003c/p>\n\u003cp>Enjoy the mix… and expect more from these acts in the year to come!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mmkxc\">Night Shapes\u003c/a>\u003c/strong> – “Waiting for the Sunn” (Starts at 0:03)\u003cbr>\nThis Oakland quartet plays heavy rock and roll mixed with elements of psych and shoegaze. “Waiting for the Sunn” is the group’s latest release, and if it’s any indication of where their in-progress second LP is headed, we’re in for a real treat.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://vacantstarerecords.bandcamp.com/album/nashville-dreams-sings-the-blues\">Dick Stusso\u003c/a>\u003c/strong> – “Heart of the Country” (4:33)\u003cbr>\nDick Stusso emerged seemingly out of nowhere last year; more accurately, the downtrodden character sprang from the mind of local musician Nic Russo. Stusso’s double-EP debut tape, \u003cem>Nashville Dreams/Sings The Blues\u003c/em>, came out late last year to much acclaim, showcasing Russo’s impressive talent for lo-fi country- and blues-inflected gems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic\">Jay Som\u003c/a>\u003c/strong> – “Ghost” (6:57)\u003cbr>\nSan Francisco’s Melina Duterte, also of local band Summer Peaks, is building a steady buzz for her solo bedroom-pop creations as Jay Som. 2015’s \u003cem>Untitled\u003c/em> is a rough-around-the-edges collection of compelling “finished and unfinished songs.” In addition to more live shows this year, perhaps we’ll also see Duterte’s first official Jay Som release?\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Caleborate-171489689532385\">Caleborate\u003c/a>\u003c/strong> – “SMH” (9:59)\u003cbr>\nBerkeley-by-way-of-Sacramento rapper Caleborate demonstrated a hell of a lot of confidence and poise on his addictive full-length debut, \u003cem>Hella Good\u003c/em>, last year. He closed the year with a high-profile collaboration with Oakland’s G-Eazy, suggesting big things in the year to come.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/motorinnsfmusic\">Motor Inn\u003c/a>\u003c/strong> – “Drive Alone” (14:32)\u003cbr>\n\u003cem>Odd Hours\u003c/em> is the debut release from SF garage-pop trio Motor Inn. The EP arrived in the fall, and it’s a five-song set of crazy-catchy, beach-party-ready songs, including the appropriately-titled EP closer “Night on the Beach.” The band’s been steadily playing shows around the Bay Area for the past couple of years, including recent dates with great locals Useless Eaters, bAd bAd, and Emotional.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://theworldband.tumblr.com/\">The World\u003c/a>\u003c/strong> – “Managerial Material” (15:49)\u003cbr>\nOakland’s The World — truly one of the planet’s least Googleable acts — has been around less than a year, with just a couple of online demos in terms of available music. But to see the group play a live show is to instantly fall in love with their angular, noisy post-punk, full of dual bleating saxophones, killer percussion and real urgency. 2016 should be a big year for this band, so get on board now.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Heron-Oblivion-1613161242245463\">Heron Oblivion\u003c/a>\u003c/strong> – “Oriar” (17:53)\u003cbr>\nThis new SF band is packed with talented musicians, including Ethan Miller and Noel Von Harmonson of Comets on Fire, Charlie Saufley from Assemble Head in Sunburst Sound, and psych-folk artist Meg Baird. Together, they’re an incendiary psych-rock outfit with tight instrumentation backing Baird’s stellar vocals. It’s a winning combination that’s sure to gain broad attention when their self-titled LP arrives on Sub Pop in March. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture\">Meernaa\u003c/a>\u003c/strong> – “Constant Love” (22:00)\u003cbr>\nThe excellent local band DRMS is no longer active, but that group’s Carly Bond and Rob Shelton have formed the new project Meernaa. “Constant Love” is the only song out from the trio, which is currently working on a debut EP. It’s an an incredible piece of dreamy synth-pop that will make you want to immediately hear more.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazelenglishmusic\">Hazel English\u003c/a>\u003c/strong> – “Fix” (27:03)\u003cbr>\nIf you enjoy indie-pop with a touch of summer haze, you’ll want to dig into the music of singer-songwriter Hazel English, who moved to the Bay from Sydney, Australia. English doesn’t have anything available commercially yet, but the songs she’s crafted with local producer Jackson Phillips (of Day Wave) soar on strong vocal melodies aided by a nostalgic warmth.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MikeBlankenshipMusic\">Mike Blankenship\u003c/a>\u003c/strong> – “Black Music (feat. Kev Choice & D Sharp)” (30:41)\u003cbr>\nThis Oakland musician already had an impressive resume before the release of \u003cem>Living For The Future\u003c/em>, touring and recording for years with artists like Lauryn Hill, Sheila E and Michael Franti. But Blankenship’s debut album, which was several years in the making, reveals his talents as a producer and songwriter, uniting a wide array of talented contributors for an impressive collection of R&B and hip-hop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/crushbandgroup\">Crush\u003c/a>\u003c/strong> – “Familiar” (34:32)\u003cbr>\nLocal “musclegaze” quartet Crush released two EPs last year, \u003cem>Crush\u003c/em> and \u003cem>Crush II\u003c/em>. True to their self-description, both EPs are loud and anthemic punk-meets-grunge. It’s a fully realized sound that indicates exciting potential for the band, which features members of Santa Cruz’s Valley Girls, and LA hardcore band Calculator.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/livingstains\">Naked Lights\u003c/a>\u003c/strong> – “Hedges” (37:34)\u003cbr>\nOn Jan. 29, East Bay post-punk quintet Naked Lights releases its second album, \u003cem>On Nature\u003c/em>, on Castle Face Records. The band draws from post-punk and dub influences to create a dense and expansive sound, with a tight rhythm section, dual guitar lines, and lead singer Aurora Crispin’s commanding vocals adding up to music that’s heavily rhythmic and truly unpredictable.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson\">Killer Whale\u003c/a>\u003c/strong> – “Wait a Little While” (41:55)\u003cbr>\nBaton Rouge’s Thomas Johnson moved to San Francisco and brought a bountiful sense of creativity with him. Recording as Killer Whale, Johnson crafts psychedelic rock-pop from a mixture of acoustic instruments, electronics, and layered vocals. Johnson already released a new EP, \u003cem>Pink Pacific\u003c/em>, earlier this month. One hopes that we’ll be hearing more new music from this inventive singer-songwriter before the year is through.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nowweareaband\">Madeline Kenney\u003c/a>\u003c/strong> – “Heart Lion” (45:53)\u003cbr>\n2016 promises a full-length release from this talented Oakland-via-Seattle transplant, who crafts engaging atmospheric dream-pop. “Heart Lion” is almost startlingly minimal, a song that uses quiet space to maximum effect. The song, like the demos Kenney has posted online, rewards repeated visits.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Bands to Watch in 2016.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bands_to_Watch_2016.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Every year, it’s an exciting challenge to compile our “Bands to Watch” mixtape: exciting because it heralds another year of great music from the Bay Area’s rising stars, and a challenge because there are far too many young acts worth including. This year’s mix of bands collects fourteen artists from around the Bay Area — notably, all of them are new to the Bay Bridged podcast, offering forward-thinking bedroom pop, stripped-down singer-songwriter tunes, energized hip-hop, and loud rock ‘n’ roll.\u003c/p>\n\u003cp>Enjoy the mix… and expect more from these acts in the year to come!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mmkxc\">Night Shapes\u003c/a>\u003c/strong> – “Waiting for the Sunn” (Starts at 0:03)\u003cbr>\nThis Oakland quartet plays heavy rock and roll mixed with elements of psych and shoegaze. “Waiting for the Sunn” is the group’s latest release, and if it’s any indication of where their in-progress second LP is headed, we’re in for a real treat.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://vacantstarerecords.bandcamp.com/album/nashville-dreams-sings-the-blues\">Dick Stusso\u003c/a>\u003c/strong> – “Heart of the Country” (4:33)\u003cbr>\nDick Stusso emerged seemingly out of nowhere last year; more accurately, the downtrodden character sprang from the mind of local musician Nic Russo. Stusso’s double-EP debut tape, \u003cem>Nashville Dreams/Sings The Blues\u003c/em>, came out late last year to much acclaim, showcasing Russo’s impressive talent for lo-fi country- and blues-inflected gems.\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=\"https://www.facebook.com/jaysommusic\">Jay Som\u003c/a>\u003c/strong> – “Ghost” (6:57)\u003cbr>\nSan Francisco’s Melina Duterte, also of local band Summer Peaks, is building a steady buzz for her solo bedroom-pop creations as Jay Som. 2015’s \u003cem>Untitled\u003c/em> is a rough-around-the-edges collection of compelling “finished and unfinished songs.” In addition to more live shows this year, perhaps we’ll also see Duterte’s first official Jay Som release?\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Caleborate-171489689532385\">Caleborate\u003c/a>\u003c/strong> – “SMH” (9:59)\u003cbr>\nBerkeley-by-way-of-Sacramento rapper Caleborate demonstrated a hell of a lot of confidence and poise on his addictive full-length debut, \u003cem>Hella Good\u003c/em>, last year. He closed the year with a high-profile collaboration with Oakland’s G-Eazy, suggesting big things in the year to come.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/motorinnsfmusic\">Motor Inn\u003c/a>\u003c/strong> – “Drive Alone” (14:32)\u003cbr>\n\u003cem>Odd Hours\u003c/em> is the debut release from SF garage-pop trio Motor Inn. The EP arrived in the fall, and it’s a five-song set of crazy-catchy, beach-party-ready songs, including the appropriately-titled EP closer “Night on the Beach.” The band’s been steadily playing shows around the Bay Area for the past couple of years, including recent dates with great locals Useless Eaters, bAd bAd, and Emotional.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://theworldband.tumblr.com/\">The World\u003c/a>\u003c/strong> – “Managerial Material” (15:49)\u003cbr>\nOakland’s The World — truly one of the planet’s least Googleable acts — has been around less than a year, with just a couple of online demos in terms of available music. But to see the group play a live show is to instantly fall in love with their angular, noisy post-punk, full of dual bleating saxophones, killer percussion and real urgency. 2016 should be a big year for this band, so get on board now.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Heron-Oblivion-1613161242245463\">Heron Oblivion\u003c/a>\u003c/strong> – “Oriar” (17:53)\u003cbr>\nThis new SF band is packed with talented musicians, including Ethan Miller and Noel Von Harmonson of Comets on Fire, Charlie Saufley from Assemble Head in Sunburst Sound, and psych-folk artist Meg Baird. Together, they’re an incendiary psych-rock outfit with tight instrumentation backing Baird’s stellar vocals. It’s a winning combination that’s sure to gain broad attention when their self-titled LP arrives on Sub Pop in March. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture\">Meernaa\u003c/a>\u003c/strong> – “Constant Love” (22:00)\u003cbr>\nThe excellent local band DRMS is no longer active, but that group’s Carly Bond and Rob Shelton have formed the new project Meernaa. “Constant Love” is the only song out from the trio, which is currently working on a debut EP. It’s an an incredible piece of dreamy synth-pop that will make you want to immediately hear more.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazelenglishmusic\">Hazel English\u003c/a>\u003c/strong> – “Fix” (27:03)\u003cbr>\nIf you enjoy indie-pop with a touch of summer haze, you’ll want to dig into the music of singer-songwriter Hazel English, who moved to the Bay from Sydney, Australia. English doesn’t have anything available commercially yet, but the songs she’s crafted with local producer Jackson Phillips (of Day Wave) soar on strong vocal melodies aided by a nostalgic warmth.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MikeBlankenshipMusic\">Mike Blankenship\u003c/a>\u003c/strong> – “Black Music (feat. Kev Choice & D Sharp)” (30:41)\u003cbr>\nThis Oakland musician already had an impressive resume before the release of \u003cem>Living For The Future\u003c/em>, touring and recording for years with artists like Lauryn Hill, Sheila E and Michael Franti. But Blankenship’s debut album, which was several years in the making, reveals his talents as a producer and songwriter, uniting a wide array of talented contributors for an impressive collection of R&B and hip-hop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/crushbandgroup\">Crush\u003c/a>\u003c/strong> – “Familiar” (34:32)\u003cbr>\nLocal “musclegaze” quartet Crush released two EPs last year, \u003cem>Crush\u003c/em> and \u003cem>Crush II\u003c/em>. True to their self-description, both EPs are loud and anthemic punk-meets-grunge. It’s a fully realized sound that indicates exciting potential for the band, which features members of Santa Cruz’s Valley Girls, and LA hardcore band Calculator.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/livingstains\">Naked Lights\u003c/a>\u003c/strong> – “Hedges” (37:34)\u003cbr>\nOn Jan. 29, East Bay post-punk quintet Naked Lights releases its second album, \u003cem>On Nature\u003c/em>, on Castle Face Records. The band draws from post-punk and dub influences to create a dense and expansive sound, with a tight rhythm section, dual guitar lines, and lead singer Aurora Crispin’s commanding vocals adding up to music that’s heavily rhythmic and truly unpredictable.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/KillerWhalethomasjohnson\">Killer Whale\u003c/a>\u003c/strong> – “Wait a Little While” (41:55)\u003cbr>\nBaton Rouge’s Thomas Johnson moved to San Francisco and brought a bountiful sense of creativity with him. Recording as Killer Whale, Johnson crafts psychedelic rock-pop from a mixture of acoustic instruments, electronics, and layered vocals. Johnson already released a new EP, \u003cem>Pink Pacific\u003c/em>, earlier this month. One hopes that we’ll be hearing more new music from this inventive singer-songwriter before the year is through.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nowweareaband\">Madeline Kenney\u003c/a>\u003c/strong> – “Heart Lion” (45:53)\u003cbr>\n2016 promises a full-length release from this talented Oakland-via-Seattle transplant, who crafts engaging atmospheric dream-pop. “Heart Lion” is almost startlingly minimal, a song that uses quiet space to maximum effect. The song, like the demos Kenney has posted online, rewards repeated visits.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cheap-date-the-soft-moon-a-birthday-for-the-glbt-history-museum-and-more",
"title": "Cheap Date: The Soft Moon, a Birthday For the GLBT History Museum, and More",
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"headTitle": "Cheap Date: The Soft Moon, a Birthday For the GLBT History Museum, and More | KQED",
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"content": "\u003cp>So! Have you heard about this thing called the Super Bowl, that’s apparently taking over our fair city in about a week’s time? No? What kind of media diet are you on? I would like to try it.\u003c/p>\n\u003cp>Yes, San Francisco is about to be taken over by some decidedly basic, fairly heteronormative celebrations. Lucky for those of us who are looking for something a little different, there’s a whole other kind of party this weekend just up the street from Super Bowl City — the \u003cstrong>5th anniversary party for the GLBT History Museum.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11278446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg\" alt=\"glbt-history-museum\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>From 7 to 9 p.m. this Friday, Jan. 29, you can drink wine, take a tour of the museum led by special guests from the community, take in a performance by some of the city’s best-loved drag kings, \u003ca href=\"https://www.facebook.com/Mommas.Boyz/?fref=ts\" target=\"_blank\" rel=\"noopener\">Momma’s Boyz\u003c/a>, and dance to “underground queer hits from seven decades” courtesy of 48 Hills’ Marke B — all hosted by the inimitable \u003ca href=\"http://www.juanitamore.com/\" target=\"_blank\" rel=\"noopener\">Juanita More\u003c/a> and Alex U. Inn. $5 – $10; \u003ca href=\"https://www.facebook.com/events/1660399650897421/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>Read on for other non-Super Bowl-related shindigs coming up this week for $20 or less — it’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28: Miriam Speyer Record Release Party at the Rickshaw Stop, SF. \u003c/strong>San Francisco singer-songwriter Speyer is one of those vocalists who surprises you the moment she opens her mouth. Tales of heartbreak, self-definition, and even the mundane are delivered with full-bellied soul, tinged by psyche-rock and even the odd Bossa Nova riff. Get there early for fellow locals Lee Gallagher and the Hallelujah as main support. $10;\u003ca href=\"http://www.rickshawstop.com/event/1016879-miriam-speyer-album-release-san-francisco/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7CYbHyKsVeY\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29: The Soft Moon and Cold Beat at the New Parish, Oakland. \u003c/strong>Two of the East Bay’s most fiercely loved post-punk bands take the stage in Oakland — this one’s not to be missed. Multi-instrumentalist/producer/singer-songwriter Luis Vazquez is The Soft Moon, and what the band lacks in size, it makes up for in sheer unpredictability, borrowing from noise rock, electronic music, darkwave and more. Cold Beat, the (mostly) punk project helmed by Hannah Lew (ex-Grass Widow) is a compelling force in its own right. $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=225336&cart\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJVjKHU4cQ\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29 – Saturday, Jan. 30: Fou Fou Ha’s ‘Whoa-Man! A Musical’ at the Great Star Theater, SF. \u003c/strong>If you’ve never seen the sexy circus troupe/burlesque dance team/group of self-effacing cabaret performers that is Fou Fou Ha….well, you probably should. No time like the present with these, the last two performances of their musical that offers “a satirical look at the lives of four women and the tortures in trying to find ‘perfection’ in a modern world.” $20; \u003ca href=\"https://www.facebook.com/events/167813766915183/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ywUwFmQWIj8\u003c/p>\n\u003cp>\u003cstrong>Monday, Feb. 1: ‘The X-Files’ Third Episode at the New Parkway, Oakland. \u003c/strong>What’s better than Mulder and Scully being back on the case? Why, taking in the reboot on a big screen, in a theater with couches and pizza and beer, of course, while surrounded by your favorite fellow X-heads. $5; \u003ca href=\"http://brownpapertickets.com/event/2491128\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "This week's $20-and-under picks also include a burlesque circus troupe and a solid soul-rock double-bill at the Rickshaw Stop. ",
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"title": "Cheap Date: The Soft Moon, a Birthday For the GLBT History Museum, and More | KQED",
"description": "This week's $20-and-under picks also include a burlesque circus troupe and a solid soul-rock double-bill at the Rickshaw Stop. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So! Have you heard about this thing called the Super Bowl, that’s apparently taking over our fair city in about a week’s time? No? What kind of media diet are you on? I would like to try it.\u003c/p>\n\u003cp>Yes, San Francisco is about to be taken over by some decidedly basic, fairly heteronormative celebrations. Lucky for those of us who are looking for something a little different, there’s a whole other kind of party this weekend just up the street from Super Bowl City — the \u003cstrong>5th anniversary party for the GLBT History Museum.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11278446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg\" alt=\"glbt-history-museum\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/glbt-history-museum.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>From 7 to 9 p.m. this Friday, Jan. 29, you can drink wine, take a tour of the museum led by special guests from the community, take in a performance by some of the city’s best-loved drag kings, \u003ca href=\"https://www.facebook.com/Mommas.Boyz/?fref=ts\" target=\"_blank\" rel=\"noopener\">Momma’s Boyz\u003c/a>, and dance to “underground queer hits from seven decades” courtesy of 48 Hills’ Marke B — all hosted by the inimitable \u003ca href=\"http://www.juanitamore.com/\" target=\"_blank\" rel=\"noopener\">Juanita More\u003c/a> and Alex U. Inn. $5 – $10; \u003ca href=\"https://www.facebook.com/events/1660399650897421/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>Read on for other non-Super Bowl-related shindigs coming up this week for $20 or less — it’s this week’s \u003cstrong>Cheap Date. \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>Thursday, Jan. 28: Miriam Speyer Record Release Party at the Rickshaw Stop, SF. \u003c/strong>San Francisco singer-songwriter Speyer is one of those vocalists who surprises you the moment she opens her mouth. Tales of heartbreak, self-definition, and even the mundane are delivered with full-bellied soul, tinged by psyche-rock and even the odd Bossa Nova riff. Get there early for fellow locals Lee Gallagher and the Hallelujah as main support. $10;\u003ca href=\"http://www.rickshawstop.com/event/1016879-miriam-speyer-album-release-san-francisco/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\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/7CYbHyKsVeY'\n title='//www.youtube.com/embed/7CYbHyKsVeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 29: The Soft Moon and Cold Beat at the New Parish, Oakland. \u003c/strong>Two of the East Bay’s most fiercely loved post-punk bands take the stage in Oakland — this one’s not to be missed. Multi-instrumentalist/producer/singer-songwriter Luis Vazquez is The Soft Moon, and what the band lacks in size, it makes up for in sheer unpredictability, borrowing from noise rock, electronic music, darkwave and more. Cold Beat, the (mostly) punk project helmed by Hannah Lew (ex-Grass Widow) is a compelling force in its own right. $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=225336&cart\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/fTJVjKHU4cQ'\n title='//www.youtube.com/embed/fTJVjKHU4cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 29 – Saturday, Jan. 30: Fou Fou Ha’s ‘Whoa-Man! A Musical’ at the Great Star Theater, SF. \u003c/strong>If you’ve never seen the sexy circus troupe/burlesque dance team/group of self-effacing cabaret performers that is Fou Fou Ha….well, you probably should. No time like the present with these, the last two performances of their musical that offers “a satirical look at the lives of four women and the tortures in trying to find ‘perfection’ in a modern world.” $20; \u003ca href=\"https://www.facebook.com/events/167813766915183/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/ywUwFmQWIj8'\n title='//www.youtube.com/embed/ywUwFmQWIj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Monday, Feb. 1: ‘The X-Files’ Third Episode at the New Parkway, Oakland. \u003c/strong>What’s better than Mulder and Scully being back on the case? Why, taking in the reboot on a big screen, in a theater with couches and pizza and beer, of course, while surrounded by your favorite fellow X-heads. $5; \u003ca href=\"http://brownpapertickets.com/event/2491128\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Farewell to Telegraph Beach, Oakland’s Budget-Rock Palace",
"headTitle": "Farewell to Telegraph Beach, Oakland’s Budget-Rock Palace | KQED",
"content": "\u003cp>“The chorus of this song is emblazoned on the wall, so sing along,” says Dan Shaw, playing guitar in the hastily assembled Telegraph Beach All Stars, a five-piece band composed of every resident at the two-story Oakland residence known as Telegraph Beach. Around 50 people cram into the shoebox living room, which is strewn in tinfoil, while others watch on a VHS monitor installed rather craftily in a bedroom. And at the cue of a careening riff and a battery of percussion, everyone shouts the phrase spray-painted on a banner behind the band: \u003cem>F–k you / Terry / Landlord / Badlord. \u003c/em>\u003c/p>\n\u003cp>It’s crass, but perfectly calibrated for the occasion: Telegraph Beach is getting evicted.\u003c/p>\n\u003cfigure id=\"attachment_11278000\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-800x533.jpg\" alt=\"A crowdsurfer at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowdsurfer at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For 10 years, the house — situated on Telegraph Ave. between 31st and 32nd Streets, in Oakland’s newly dubbed Koreatown Northgate District — afforded residents something precious. In \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">one of the nation’s most expensive rental markets\u003c/a>, Telegraph Beach tenants paid less than $500 a month. They worked part-time, if that. For leaseholder Courtney Crusher, yard sales often sufficed. In the living room, they rehearsed, recorded, and performed, which yielded some of Oakland’s most celebrated rock releases in recent years. Come Feb. 1, however, the house’s owner — who moved into the granny unit, thereby eluding the city’s \u003ca href=\"http://www2.oaklandnet.com/Government/o/hcd/o/RentAdjustment/DOWD008793\" target=\"_blank\" rel=\"noopener\">Just Cause ordinance\u003c/a> — told Crusher that he intends to renovate and sell, then move to Oregon.\u003c/p>\n\u003cp>Telegraph Beach was part of a shadowy constellation in Oakland, a network of homes with cryptic names and reputations for consistently hosting gigs but avoiding official publicity. In recent years, similar venues for house shows nearby have burned down, burned out, and elicited police attention following complaints from incoming neighbors. Property insurers have even been known to scour social media for mentions of residences as venues and then contact the owners. And though Oakland’s punk houses have appeared and disappeared cyclically for decades — with Phoenix Ironworks in the 1980s and Pill Hill Zoo Haus in the 1990s, for instance — disappearances vastly outnumber appearances today. \u003c/p>\n\u003cp>In other words, Telegraph Beach’s dissolution is a microcosm of Oakland’s affordability crisis, and a case study in how housing issues impact small corners of the arts. As frenzied development alters the sites where underground music has historically thrived — derelict commercial space, structures with absentee landlords — critics contend the City of Oakland hasn’t striven to retain artists (or lower-income people of color). Oakland lacks even the rent protections and arts infrastructure in place in San Francisco, which many activists consider insufficient, palliative measures, anyway.\u003c/p>\n\u003cfigure id=\"attachment_11278001\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-800x533.jpg\" alt=\"The stoop at Telegraph Beach.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stoop at Telegraph Beach. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carlos Bermudez says he started Telegraph Beach in 2006, though the name came later, as a “budget-rock space,” using a term for garage rock associated with 1990s revivalists such as \u003ca href=\"https://www.youtube.com/watch?v=TmBJA74JLRo\" target=\"_blank\" rel=\"noopener\">The Mummies\u003c/a>. He recalls that, in the mid-2000s, underground venues such as 40th St. Warehouse and Grandma’s House (which George Chen recently \u003ca href=\"http://openspace.sfmoma.org/2015/12/grandmas-house/\" target=\"_blank\" rel=\"noopener\">chronicled for SFMOMA\u003c/a>) were shuttering, but homespun spaces such as Telegraph Beach proliferated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We had a $50 PA that I bought from a Berkeley co-op and two mics, one with a stand and one duct-taped to a table lamp,” he says, describing a setup not unlike the one on display 10 years later. “We moved in with the express intent of practicing and having shows.”\u003c/p>\n\u003cp>Garage groups Personal & the Pizzas and Nobunny performed several times, as did Ty Segall’s early outfit The Traditional Fools. The latter opened an especially well-remembered show for an ascendant Black Lips. Bermudez says, “It was convenient because when we were too broke to see shows, we’d just ask bands to play our house.”\u003c/p>\n\u003cp>Creative and personal lives tangled. Residents invited friends from other cities to sublet while they were on tour; tours turned into permanent vacations and guests into long-term residents. Matthew Melton, frontman of garage outfit Bare Wires, arrived from San Francisco in 2008. At Telegraph Beach, he recorded the first Shannon & the Clams album, \u003cem>I Wanna Go Home\u003c/em>, and the music to “Teardrops on My Telephone,” to which Seth Bogart added vocals and issued as a Hunx & His Punx single. Hether Fortune, Melton’s then-bandmate in Bare Wires, joined an early incarnation of Hunx & His Punx, which rehearsed in the living room. And in her bedroom, Fortune sharpened a songwriting voice of her own and demoed “All Too Human,” which became her first single as Wax Idols.\u003c/p>\n\u003cfigure id=\"attachment_11278002\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-800x533.jpg\" alt=\"Courtney Castleman plays at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Castleman plays at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcana abound: Weasel Walter, a storied underground figure, lived in the granny unit, as did Adam Stonehouse, of cult lo-fi outfit Hospitals. And when residents clashed with the neighbors, it had more to do with subcultural allegiances than conscientiousness: Telegraph Beach was known in scene shorthand as the “rocker house,” as opposed to the “noise house” next door. The feud involved flinging eggs, but it ultimately fizzled: at the final show, both camps cursed the landlord in unison.\u003c/p>\n\u003cp>“I consider Telegraph Beach to be part of a long history of bohemian crash pads in Oakland,” says Andy Jordan, who recorded solo material as Andy Human and a full-length with Lenz while residing at Telegraph Beach. “A low-rent dump with an indifferent landlord, it helped free up leisure time for creative lunatics like Max Nordile.”\u003c/p>\n\u003cp>Indeed, Nordile is especially emblematic of the madcap potential artists tap in neglected residences. One of the Telegraph Beach All Stars, he recorded at least four albums with the mercurial post-punk outfit Uzi Rash and several albums with the amorphous improv ensemble Nothing Band, plus myriad side projects. And Nordile emphasizes that Telegraph Beach, embattled as it’s been, was always steeped in struggle.\u003c/p>\n\u003cp>“Sheer willpower created opportunity… We had no money, so we rented a cheap house with lots of people,” he says. “We had no practice space, so we used our living room. We had no venue, so we used our new practice space. We had no living room — but whatever.”\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" size=\"medium\" ids=\"11278004,11278005,11278006,11278007,11278008,11278009,11278010,11278011,11278012,11278013,11278014,11278015,11278016,11278017\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Full disclosure: The author of this article has played music with Matthew Melton and Andy Jordan.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The chorus of this song is emblazoned on the wall, so sing along,” says Dan Shaw, playing guitar in the hastily assembled Telegraph Beach All Stars, a five-piece band composed of every resident at the two-story Oakland residence known as Telegraph Beach. Around 50 people cram into the shoebox living room, which is strewn in tinfoil, while others watch on a VHS monitor installed rather craftily in a bedroom. And at the cue of a careening riff and a battery of percussion, everyone shouts the phrase spray-painted on a banner behind the band: \u003cem>F–k you / Terry / Landlord / Badlord. \u003c/em>\u003c/p>\n\u003cp>It’s crass, but perfectly calibrated for the occasion: Telegraph Beach is getting evicted.\u003c/p>\n\u003cfigure id=\"attachment_11278000\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-800x533.jpg\" alt=\"A crowdsurfer at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Crowd-Surf-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowdsurfer at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For 10 years, the house — situated on Telegraph Ave. between 31st and 32nd Streets, in Oakland’s newly dubbed Koreatown Northgate District — afforded residents something precious. In \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">one of the nation’s most expensive rental markets\u003c/a>, Telegraph Beach tenants paid less than $500 a month. They worked part-time, if that. For leaseholder Courtney Crusher, yard sales often sufficed. In the living room, they rehearsed, recorded, and performed, which yielded some of Oakland’s most celebrated rock releases in recent years. Come Feb. 1, however, the house’s owner — who moved into the granny unit, thereby eluding the city’s \u003ca href=\"http://www2.oaklandnet.com/Government/o/hcd/o/RentAdjustment/DOWD008793\" target=\"_blank\" rel=\"noopener\">Just Cause ordinance\u003c/a> — told Crusher that he intends to renovate and sell, then move to Oregon.\u003c/p>\n\u003cp>Telegraph Beach was part of a shadowy constellation in Oakland, a network of homes with cryptic names and reputations for consistently hosting gigs but avoiding official publicity. In recent years, similar venues for house shows nearby have burned down, burned out, and elicited police attention following complaints from incoming neighbors. Property insurers have even been known to scour social media for mentions of residences as venues and then contact the owners. And though Oakland’s punk houses have appeared and disappeared cyclically for decades — with Phoenix Ironworks in the 1980s and Pill Hill Zoo Haus in the 1990s, for instance — disappearances vastly outnumber appearances today. \u003c/p>\n\u003cp>In other words, Telegraph Beach’s dissolution is a microcosm of Oakland’s affordability crisis, and a case study in how housing issues impact small corners of the arts. As frenzied development alters the sites where underground music has historically thrived — derelict commercial space, structures with absentee landlords — critics contend the City of Oakland hasn’t striven to retain artists (or lower-income people of color). Oakland lacks even the rent protections and arts infrastructure in place in San Francisco, which many activists consider insufficient, palliative measures, anyway.\u003c/p>\n\u003cfigure id=\"attachment_11278001\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-800x533.jpg\" alt=\"The stoop at Telegraph Beach.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Exterior-Rain-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stoop at Telegraph Beach. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carlos Bermudez says he started Telegraph Beach in 2006, though the name came later, as a “budget-rock space,” using a term for garage rock associated with 1990s revivalists such as \u003ca href=\"https://www.youtube.com/watch?v=TmBJA74JLRo\" target=\"_blank\" rel=\"noopener\">The Mummies\u003c/a>. He recalls that, in the mid-2000s, underground venues such as 40th St. Warehouse and Grandma’s House (which George Chen recently \u003ca href=\"http://openspace.sfmoma.org/2015/12/grandmas-house/\" target=\"_blank\" rel=\"noopener\">chronicled for SFMOMA\u003c/a>) were shuttering, but homespun spaces such as Telegraph Beach proliferated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We had a $50 PA that I bought from a Berkeley co-op and two mics, one with a stand and one duct-taped to a table lamp,” he says, describing a setup not unlike the one on display 10 years later. “We moved in with the express intent of practicing and having shows.”\u003c/p>\n\u003cp>Garage groups Personal & the Pizzas and Nobunny performed several times, as did Ty Segall’s early outfit The Traditional Fools. The latter opened an especially well-remembered show for an ascendant Black Lips. Bermudez says, “It was convenient because when we were too broke to see shows, we’d just ask bands to play our house.”\u003c/p>\n\u003cp>Creative and personal lives tangled. Residents invited friends from other cities to sublet while they were on tour; tours turned into permanent vacations and guests into long-term residents. Matthew Melton, frontman of garage outfit Bare Wires, arrived from San Francisco in 2008. At Telegraph Beach, he recorded the first Shannon & the Clams album, \u003cem>I Wanna Go Home\u003c/em>, and the music to “Teardrops on My Telephone,” to which Seth Bogart added vocals and issued as a Hunx & His Punx single. Hether Fortune, Melton’s then-bandmate in Bare Wires, joined an early incarnation of Hunx & His Punx, which rehearsed in the living room. And in her bedroom, Fortune sharpened a songwriting voice of her own and demoed “All Too Human,” which became her first single as Wax Idols.\u003c/p>\n\u003cfigure id=\"attachment_11278002\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-800x533.jpg\" alt=\"Courtney Castleman plays at Telegraph Beach's last show.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11278002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/A-Courtney-Castleman-All-Stars-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Castleman plays at Telegraph Beach’s last show. \u003ccite>(Madeline Allard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcana abound: Weasel Walter, a storied underground figure, lived in the granny unit, as did Adam Stonehouse, of cult lo-fi outfit Hospitals. And when residents clashed with the neighbors, it had more to do with subcultural allegiances than conscientiousness: Telegraph Beach was known in scene shorthand as the “rocker house,” as opposed to the “noise house” next door. The feud involved flinging eggs, but it ultimately fizzled: at the final show, both camps cursed the landlord in unison.\u003c/p>\n\u003cp>“I consider Telegraph Beach to be part of a long history of bohemian crash pads in Oakland,” says Andy Jordan, who recorded solo material as Andy Human and a full-length with Lenz while residing at Telegraph Beach. “A low-rent dump with an indifferent landlord, it helped free up leisure time for creative lunatics like Max Nordile.”\u003c/p>\n\u003cp>Indeed, Nordile is especially emblematic of the madcap potential artists tap in neglected residences. One of the Telegraph Beach All Stars, he recorded at least four albums with the mercurial post-punk outfit Uzi Rash and several albums with the amorphous improv ensemble Nothing Band, plus myriad side projects. And Nordile emphasizes that Telegraph Beach, embattled as it’s been, was always steeped in struggle.\u003c/p>\n\u003cp>“Sheer willpower created opportunity… We had no money, so we rented a cheap house with lots of people,” he says. “We had no practice space, so we used our living room. We had no venue, so we used our new practice space. We had no living room — but whatever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n",
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"content": "\u003cp>Today's science lesson, kids: Don't pick a rap battle with a scientist -- especially if he has a rapper for a nephew.\u003c/p>\n\u003cp>Ok, so where to begin? If you turned on the radio at all in 2010, you were probably unable to avoid a song called \"\u003ca href=\"https://www.youtube.com/watch?v=8PTDv_szmL0\" target=\"_blank\">Nothin' On You\u003c/a>,\" the debut single from B.o.B., aka Bobby Ray Jr., a rapper from Decatur, Georgia. In the five years since then, the artist has had several chart-topping singles, often collaborations -- with Hayley Williams of Paramore, with T.I. and Chris Brown, with Taylor Swift.\u003c/p>\n\u003cp>Well, the 27-year-old went and made headlines again yesterday for another, um, collaboration of sorts. First, he spent the evening of Jan. 24 and most of Jan. 25 tweeting about his belief that the world is in fact flat and that NASA is lying to us all (see below).\u003c/p>\n\u003cp>https://twitter.com/bobatl/status/691411463051804676\u003c/p>\n\u003cp>https://twitter.com/bobatl/status/691498246578032640\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The World's Most Accessible Astrophysicist Neil deGrasse Tyson then had the audacity to respond to some of B.o.B's tweets with some verified\u003ca href=\"https://twitter.com/neiltyson/with_replies\" target=\"_blank\"> science facts\u003c/a>, explaining why the world might look flat while continuing to be round, a reality that was established in the 3rd century BC.\u003c/p>\n\u003cp>https://twitter.com/neiltyson/status/691652747674980355\u003c/p>\n\u003cp>B.o.B then responded overnight with -- what else? -- a diss track sampling a speech of Tyson's. Bonus (kind of): In said track, the rapper expresses a much wider ranger of beliefs in conspiracy theories (including references to Holocaust deniers, Stalin, UFO crash cover-ups, and President Obama being controlled by some kind of shadowy Jewish force) than his original burst of crazy. \u003ca href=\"http://genius.com/Bob-flatline-lyrics\" target=\"_blank\">Check out the lyrics on Genius.com\u003c/a> for a handy walk-through of the insanity.\u003c/p>\n\u003cp>https://soundcloud.com/bobatl/bob-flatline-feat-neil-tyson\u003c/p>\n\u003cp>As for Neil deGrasse Tyson? Never one to shy away from a debate, the scientist did what any beloved celebrity intellectual would do -- turned to his nephew, the rapper Steven J. Tyson (aka TYSON) and released \u003ca href=\"https://twitter.com/neiltyson/status/692092680680120321\" target=\"_blank\">a response diss track of his own\u003c/a> just this afternoon.\u003c/p>\n\u003cp>Behold: \"Flat to Fact,\" which, if you didn't catch the reference to Drake's 2015 Meek Mill diss track \"Back to Back,\" perhaps you'll note that the beat and instrumentals are pretty much exactly the same, while the rapping is, well...it's rapping.\u003c/p>\n\u003cp>\"I got science in my corner and there's nothing to fear/I'm not sure what it was that really made you think you could disrespect a Tyson and your ship won't sink.\" The song manages to diss Stacey Dash and Donald Trump in a rather efficient manner, as well.\u003c/p>\n\u003cp>https://soundcloud.com/drtyson/flat-to-fact\u003c/p>\n\u003cp>#Science, indeed. Your move, B.o.b.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>B.o.B then responded overnight with -- what else? -- a diss track sampling a speech of Tyson's. Bonus (kind of): In said track, the rapper expresses a much wider ranger of beliefs in conspiracy theories (including references to Holocaust deniers, Stalin, UFO crash cover-ups, and President Obama being controlled by some kind of shadowy Jewish force) than his original burst of crazy. \u003ca href=\"http://genius.com/Bob-flatline-lyrics\" target=\"_blank\">Check out the lyrics on Genius.com\u003c/a> for a handy walk-through of the insanity.\u003c/p>\n\u003cp>https://soundcloud.com/bobatl/bob-flatline-feat-neil-tyson\u003c/p>\n\u003cp>As for Neil deGrasse Tyson? Never one to shy away from a debate, the scientist did what any beloved celebrity intellectual would do -- turned to his nephew, the rapper Steven J. Tyson (aka TYSON) and released \u003ca href=\"https://twitter.com/neiltyson/status/692092680680120321\" target=\"_blank\">a response diss track of his own\u003c/a> just this afternoon.\u003c/p>\n\u003cp>Behold: \"Flat to Fact,\" which, if you didn't catch the reference to Drake's 2015 Meek Mill diss track \"Back to Back,\" perhaps you'll note that the beat and instrumentals are pretty much exactly the same, while the rapping is, well...it's rapping.\u003c/p>\n\u003cp>\"I got science in my corner and there's nothing to fear/I'm not sure what it was that really made you think you could disrespect a Tyson and your ship won't sink.\" The song manages to diss Stacey Dash and Donald Trump in a rather efficient manner, as well.\u003c/p>\n\u003cp>https://soundcloud.com/drtyson/flat-to-fact\u003c/p>\n\u003cp>#Science, indeed. Your move, B.o.b.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/247946991″ 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>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qAp9aiDXM5g\u003c/p>\n\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>[contextly_sidebar id=”RS2fT0vSfkNclT7GZggyJ5mO0i0LGe5d”]\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVAxUMuhz98\u003c/p>\n\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cnIZ826ZVE\u003c/p>\n\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwZICH_pyBM\u003c/p>\n\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\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/247946991″&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/247946991″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\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/qAp9aiDXM5g'\n title='//www.youtube.com/embed/qAp9aiDXM5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\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/mVAxUMuhz98'\n title='//www.youtube.com/embed/mVAxUMuhz98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\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/5cnIZ826ZVE'\n title='//www.youtube.com/embed/5cnIZ826ZVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\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/uwZICH_pyBM'\n title='//www.youtube.com/embed/uwZICH_pyBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "So What if Radiohead is Headlining Outside Lands?",
"headTitle": "So What if Radiohead is Headlining Outside Lands? | KQED",
"content": "\u003cp>It’s Friday, and the rumors are a-swirling: specifically, that Radiohead will headline Outside Lands this year in Golden Gate Park.\u003c/p>\n\u003cp>Confirmed by \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">“sources,” according to Consequence of Sound\u003c/a>, Radiohead is scheduled to play the three-day festival in San Francisco this August. If true, it would mean a return to Golden Gate Park for the band, who \u003ca href=\"http://citysound.bohemian.com/2008/08/27/live-review-outside-lands-festival-day-one/\" target=\"_blank\" rel=\"noopener\">ushered in the inaugural Outside Lands\u003c/a> in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11267971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11267971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thomyorke.jpg\" alt=\"Thom Yorke at Outside Lands, 2008.\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke-399x600.jpg 399w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Thom Yorke at Outside Lands, 2008. \u003ccite>(Elizabeth Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A representative from Outside Lands \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">declined comment\u003c/a> to Consequence of Sound, saying that “We would be thrilled to have Radiohead headline Outside Lands, but we do not announce our lineup for a couple of months.”\u003c/p>\n\u003cp>If the “sources” are correct — and who are we to say they are or aren’t? — then there are a few things that need to happen here.\u003c/p>\n\u003cp>\u003cstrong>1. The sound system needs to be bulletproof\u003c/strong>. One of the more notable incidents during Radiohead’s 2008 appearance at Outside Lands came when the \u003ca href=\"https://www.youtube.com/watch?v=9QPfJKdKsXM\" target=\"_blank\" rel=\"noopener\">sound cut out mid-song\u003c/a> — not once, but twice. Sound engineers: double-or triple-check everything this time around.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. All paths in the park get widened\u003c/strong>. Do you remember the stampede in 2008 between the end of Beck’s set in Sutro Meadow and Radiohead’s set in the Polo Fields? Thousands of people, plowing down fences and trampling through bushes. Pro tip: widen all pathways an additional 10 feet for Radiohead.\u003c/p>\n\u003cp>\u003cstrong>3. Band must play “Fake Plastic Trees.”\u003c/strong> At Outside Lands, multicolored lights splay out across the towering trees surrounding the Polo Fields, and in 2008, as the band played “Fake Plastic Trees,” they never looked so strange, surreal, and marvelous. Put it in their contract: the song must be played.\u003c/p>\n\u003cp>\u003cstrong>4. The Black Keys play the side stage\u003c/strong>. Last year’s head-to-head booking of the Black Keys on the main Polo Field stage while Kendrick Lamar played the smaller Twin Peaks stage will \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">probably go down as an embarrassment\u003c/a> in the history books. Just to be safe and rectify the situation: this year, force the Black Keys to play at the same time as Radiohead.\u003c/p>\n\u003cp>\u003cstrong>5. Thom Yorke appears on KQED Forum\u003c/strong>. Really, there’s no excuse \u003cem>not\u003c/em> to, right?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radiohead is also scheduled to play Lollapalooza in Chicago and the Osheaga Music Festival in Montreal. Consequence of Sound’s report can be found \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Is Radiohead playing this year's Outside Lands, as rumored? If so, here's what needs to happen.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Friday, and the rumors are a-swirling: specifically, that Radiohead will headline Outside Lands this year in Golden Gate Park.\u003c/p>\n\u003cp>Confirmed by \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">“sources,” according to Consequence of Sound\u003c/a>, Radiohead is scheduled to play the three-day festival in San Francisco this August. If true, it would mean a return to Golden Gate Park for the band, who \u003ca href=\"http://citysound.bohemian.com/2008/08/27/live-review-outside-lands-festival-day-one/\" target=\"_blank\" rel=\"noopener\">ushered in the inaugural Outside Lands\u003c/a> in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11267971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11267971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thomyorke.jpg\" alt=\"Thom Yorke at Outside Lands, 2008.\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke-399x600.jpg 399w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Thom Yorke at Outside Lands, 2008. \u003ccite>(Elizabeth Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A representative from Outside Lands \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">declined comment\u003c/a> to Consequence of Sound, saying that “We would be thrilled to have Radiohead headline Outside Lands, but we do not announce our lineup for a couple of months.”\u003c/p>\n\u003cp>If the “sources” are correct — and who are we to say they are or aren’t? — then there are a few things that need to happen here.\u003c/p>\n\u003cp>\u003cstrong>1. The sound system needs to be bulletproof\u003c/strong>. One of the more notable incidents during Radiohead’s 2008 appearance at Outside Lands came when the \u003ca href=\"https://www.youtube.com/watch?v=9QPfJKdKsXM\" target=\"_blank\" rel=\"noopener\">sound cut out mid-song\u003c/a> — not once, but twice. Sound engineers: double-or triple-check everything this time around.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. All paths in the park get widened\u003c/strong>. Do you remember the stampede in 2008 between the end of Beck’s set in Sutro Meadow and Radiohead’s set in the Polo Fields? Thousands of people, plowing down fences and trampling through bushes. Pro tip: widen all pathways an additional 10 feet for Radiohead.\u003c/p>\n\u003cp>\u003cstrong>3. Band must play “Fake Plastic Trees.”\u003c/strong> At Outside Lands, multicolored lights splay out across the towering trees surrounding the Polo Fields, and in 2008, as the band played “Fake Plastic Trees,” they never looked so strange, surreal, and marvelous. Put it in their contract: the song must be played.\u003c/p>\n\u003cp>\u003cstrong>4. The Black Keys play the side stage\u003c/strong>. Last year’s head-to-head booking of the Black Keys on the main Polo Field stage while Kendrick Lamar played the smaller Twin Peaks stage will \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">probably go down as an embarrassment\u003c/a> in the history books. Just to be safe and rectify the situation: this year, force the Black Keys to play at the same time as Radiohead.\u003c/p>\n\u003cp>\u003cstrong>5. Thom Yorke appears on KQED Forum\u003c/strong>. Really, there’s no excuse \u003cem>not\u003c/em> to, right?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radiohead is also scheduled to play Lollapalooza in Chicago and the Osheaga Music Festival in Montreal. Consequence of Sound’s report can be found \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Emeryville's Vintage Synthesizer Museum, Analog Sounds Rule",
"headTitle": "At Emeryville’s Vintage Synthesizer Museum, Analog Sounds Rule | KQED",
"content": "\u003cp>It’s the sound of R2D2 in \u003cem>Star Wars\u003c/em>, the Tardis in \u003cem>Doctor Who\u003c/em>, the transporter in \u003cem>Star Trek\u003c/em> and the original Cylons in \u003cem>Battlestar Galactica\u003c/em>. It’s the ominous tension-inducing pulse in Pink Floyd’s “\u003ca href=\"https://www.youtube.com/watch?v=VouHPeO4Gls\" target=\"_blank\" rel=\"noopener\">On the Run\u003c/a>,” the squiggly joyful noise at the start of The Who’s “\u003ca href=\"https://www.youtube.com/watch?v=x2KRpRMSu4g\" target=\"_blank\" rel=\"noopener\">Baba O’Riley\u003c/a>,” and the epic supernovae that punctuate Rush’s “\u003ca href=\"https://www.youtube.com/watch?v=auLBLk4ibAk\" target=\"_blank\" rel=\"noopener\">Tom Sawyer\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11260348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg\" alt=\"The EMS Synthi AKS.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Synthi AKS. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It” is the sound of the analog synthesizer, a machine originally designed to mimic acoustic instruments but whose unique timbres — created by routing electronically-generated tones through filters and signal processors — inspire a unique aural space. And though they’ve become rare instruments, the various synthesizers responsible for the above sounds can be found alongside many others at the East Bay-based \u003ca href=\"http://www.vintagesynthmuseum.com/VSM_Home.html\" target=\"_blank\" rel=\"noopener\">Vintage Synthesizer Museum\u003c/a>, just off of San Pablo Ave. in Emeryville.\u003c/p>\n\u003cp>Lance Hill is the affable 40-something curator of the Museum, whose boyish hipster looks shave a good decade off of that number. By appointment, he makes his showroom available to all interested, expert and novice alike. For the former, he offers his synthesizers for in-house rental (the museum’s synths have graced records by Dan the Automator, Neurosis, Blackalicious and others). For the latter, he offers a three-day crash course that leaves one with enough basic facility in audio synthesis to create their own compositions — or, at the very least, the ability to make some cool robot noises.\u003c/p>\n\u003cfigure id=\"attachment_11260350\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg\" alt=\"The EMS Vocoder.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Vocoder. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the exclusive province of engineers and programmers, synthesizers have evolved to become much easier to use and manipulate since their earliest iterations. The \u003ca href=\"https://en.wikipedia.org/wiki/Modular_synthesizer\" target=\"_blank\" rel=\"noopener\">modular synthesizer\u003c/a> was an imposing array of wires, plugs, and knobs that began sharing real estate with piano-style keyboards, thus making the device more accessible (not at all dissimilar to the addition of a typewriter keyboard to the first personal computers). But just like computers, synthesizers don’t do anything unless told to. They’re only as good as their users’ deft way with the sliders and knobs, marking the difference between an artful aural sculpture or total garbage.\u003c/p>\n\u003cp>Boot up one of Hill’s synthesizers and see for yourself: some are so opaque in their functionality, they’ll yield nary a peep no matter how hard you button-mash. Grumble to Hill, though, and he’ll show that you were a just few knob-twists away from laser guns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few notable synths at Hill’s museum include:\u003c/p>\n\u003cp>\u003cstrong>The ARP 2600\u003c/strong>. Fifty-odd knobs and sliders dominate this war-torn steel beast. But with a little coaxing, one can recreate the voice of R2D2 from the original \u003cem>Star Wars\u003c/em> with surprising accuracy. The challenge comes in tweaking the knobs just so to express the range of emotions that we expect from the little robot. Watch original \u003cem>Star Wars\u003c/em> sound designer Ben Burtt explain how he mixed the human and the synthetic to create that distinctive sound:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eUwnFYBPMlU\u003c/p>\n\u003cp>\u003cstrong>The Moog Taurus\u003c/strong>. This foot-triggered synthesizer uses electric organ-style pedals to produce its thick bass magic. Popularized by the Rush hit “Tom Sawyer,” bassist Geddy Lee deployed the Taurus to fatten their trio sound while playing live. Check out the original video for “Tom Sawyer” and spy Lee tap dancing on his Taurus:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=auLBLk4ibAk\u003c/p>\n\u003cp>\u003cstrong>The EMS Vocoder\u003c/strong>. A synthesizer designed to distort and bedazzle vocals, the EMS is a console about the size of a stereo receiver connected to a microphone; it’s often mistakenly credited as the source of \u003ca href=\"https://en.wikipedia.org/wiki/Auto-Tune\" target=\"_blank\" rel=\"noopener\">Autotuned vocals\u003c/a>. In addition to countless disco songs, the vocoder is the basis for the voice of the Cylons on the original \u003cem>Battlestar Galactica\u003c/em>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPL7QPCfVZc\u003c/p>\n\u003cp>A younger generation might consider Hill’s museum an aberration in the Bay Area, but the region’s history with the analog synthesizer runs deep. In fact, one of the earliest innovators of the synthesizer is Berkeley-based \u003ca href=\"http://electronicmusic.wikia.com/wiki/Donald_Buchla\" target=\"_blank\" rel=\"noopener\">Don Buchla\u003c/a>, who, along with the late Robert Moog, is popularly considered the father of the modern synthesizer. Whereas Buchla is more often associated with the aforementioned unwieldy arrays of wires and circuits known as the modular synthesizer, Moog popularized and commercialized the synthesizer with accessible, keyboard-based designs. Buchla’s instruments are less prominent in pop culture, but Nine Inch Nails’ Alessandro Cortini happens to tinker with one in the video for “The Hand That Feeds”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xwhBRJStz7w\u003c/p>\n\u003cp>Original units designed by both Moog and Buchla fetch tens of thousands of dollars on the resale market, despite the fact that both Buchla and Moog’s manufacturers have issued reproductions of their original machines. But at the Vintage Synthesizer Museum, one hardly needs a dime to lay hands on these lovely old beasts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visits and classes can be booked through the Vintage Synthesizer Museum’s \u003ca href=\"https://www.facebook.com/vintagesynthmuseum/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "From the beeps of R2D2 to the underpinning of prog-rock hits, analog synthesizers are more prevalent in popular culture than many may think.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the sound of R2D2 in \u003cem>Star Wars\u003c/em>, the Tardis in \u003cem>Doctor Who\u003c/em>, the transporter in \u003cem>Star Trek\u003c/em> and the original Cylons in \u003cem>Battlestar Galactica\u003c/em>. It’s the ominous tension-inducing pulse in Pink Floyd’s “\u003ca href=\"https://www.youtube.com/watch?v=VouHPeO4Gls\" target=\"_blank\" rel=\"noopener\">On the Run\u003c/a>,” the squiggly joyful noise at the start of The Who’s “\u003ca href=\"https://www.youtube.com/watch?v=x2KRpRMSu4g\" target=\"_blank\" rel=\"noopener\">Baba O’Riley\u003c/a>,” and the epic supernovae that punctuate Rush’s “\u003ca href=\"https://www.youtube.com/watch?v=auLBLk4ibAk\" target=\"_blank\" rel=\"noopener\">Tom Sawyer\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11260348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg\" alt=\"The EMS Synthi AKS.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Synthi AKS. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It” is the sound of the analog synthesizer, a machine originally designed to mimic acoustic instruments but whose unique timbres — created by routing electronically-generated tones through filters and signal processors — inspire a unique aural space. And though they’ve become rare instruments, the various synthesizers responsible for the above sounds can be found alongside many others at the East Bay-based \u003ca href=\"http://www.vintagesynthmuseum.com/VSM_Home.html\" target=\"_blank\" rel=\"noopener\">Vintage Synthesizer Museum\u003c/a>, just off of San Pablo Ave. in Emeryville.\u003c/p>\n\u003cp>Lance Hill is the affable 40-something curator of the Museum, whose boyish hipster looks shave a good decade off of that number. By appointment, he makes his showroom available to all interested, expert and novice alike. For the former, he offers his synthesizers for in-house rental (the museum’s synths have graced records by Dan the Automator, Neurosis, Blackalicious and others). For the latter, he offers a three-day crash course that leaves one with enough basic facility in audio synthesis to create their own compositions — or, at the very least, the ability to make some cool robot noises.\u003c/p>\n\u003cfigure id=\"attachment_11260350\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg\" alt=\"The EMS Vocoder.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Vocoder. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the exclusive province of engineers and programmers, synthesizers have evolved to become much easier to use and manipulate since their earliest iterations. The \u003ca href=\"https://en.wikipedia.org/wiki/Modular_synthesizer\" target=\"_blank\" rel=\"noopener\">modular synthesizer\u003c/a> was an imposing array of wires, plugs, and knobs that began sharing real estate with piano-style keyboards, thus making the device more accessible (not at all dissimilar to the addition of a typewriter keyboard to the first personal computers). But just like computers, synthesizers don’t do anything unless told to. They’re only as good as their users’ deft way with the sliders and knobs, marking the difference between an artful aural sculpture or total garbage.\u003c/p>\n\u003cp>Boot up one of Hill’s synthesizers and see for yourself: some are so opaque in their functionality, they’ll yield nary a peep no matter how hard you button-mash. Grumble to Hill, though, and he’ll show that you were a just few knob-twists away from laser guns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few notable synths at Hill’s museum include:\u003c/p>\n\u003cp>\u003cstrong>The ARP 2600\u003c/strong>. Fifty-odd knobs and sliders dominate this war-torn steel beast. But with a little coaxing, one can recreate the voice of R2D2 from the original \u003cem>Star Wars\u003c/em> with surprising accuracy. The challenge comes in tweaking the knobs just so to express the range of emotions that we expect from the little robot. Watch original \u003cem>Star Wars\u003c/em> sound designer Ben Burtt explain how he mixed the human and the synthetic to create that distinctive sound:\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/eUwnFYBPMlU'\n title='//www.youtube.com/embed/eUwnFYBPMlU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The Moog Taurus\u003c/strong>. This foot-triggered synthesizer uses electric organ-style pedals to produce its thick bass magic. Popularized by the Rush hit “Tom Sawyer,” bassist Geddy Lee deployed the Taurus to fatten their trio sound while playing live. Check out the original video for “Tom Sawyer” and spy Lee tap dancing on his Taurus:\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/auLBLk4ibAk'\n title='//www.youtube.com/embed/auLBLk4ibAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The EMS Vocoder\u003c/strong>. A synthesizer designed to distort and bedazzle vocals, the EMS is a console about the size of a stereo receiver connected to a microphone; it’s often mistakenly credited as the source of \u003ca href=\"https://en.wikipedia.org/wiki/Auto-Tune\" target=\"_blank\" rel=\"noopener\">Autotuned vocals\u003c/a>. In addition to countless disco songs, the vocoder is the basis for the voice of the Cylons on the original \u003cem>Battlestar Galactica\u003c/em>:\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/YPL7QPCfVZc'\n title='//www.youtube.com/embed/YPL7QPCfVZc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A younger generation might consider Hill’s museum an aberration in the Bay Area, but the region’s history with the analog synthesizer runs deep. In fact, one of the earliest innovators of the synthesizer is Berkeley-based \u003ca href=\"http://electronicmusic.wikia.com/wiki/Donald_Buchla\" target=\"_blank\" rel=\"noopener\">Don Buchla\u003c/a>, who, along with the late Robert Moog, is popularly considered the father of the modern synthesizer. Whereas Buchla is more often associated with the aforementioned unwieldy arrays of wires and circuits known as the modular synthesizer, Moog popularized and commercialized the synthesizer with accessible, keyboard-based designs. Buchla’s instruments are less prominent in pop culture, but Nine Inch Nails’ Alessandro Cortini happens to tinker with one in the video for “The Hand That Feeds”:\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/xwhBRJStz7w'\n title='//www.youtube.com/embed/xwhBRJStz7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Original units designed by both Moog and Buchla fetch tens of thousands of dollars on the resale market, despite the fact that both Buchla and Moog’s manufacturers have issued reproductions of their original machines. But at the Vintage Synthesizer Museum, one hardly needs a dime to lay hands on these lovely old beasts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visits and classes can be booked through the Vintage Synthesizer Museum’s \u003ca href=\"https://www.facebook.com/vintagesynthmuseum/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"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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"meta": {
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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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"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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",
"subscribe": {
"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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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
"subscribe": {
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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"
}
},
"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",
"subscribe": {
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"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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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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