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"content": "\u003cp>Huge ants, a cat dog hybrid and Krystal South Kardashian West, coming to a future near you!\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/01/predictions.mp3\" title=\"The 10 Most Amusing Predictions Nikki, Psychic to the Stars, Made for 2016\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, I'm sharing two bits of news with you dear listeners.\u003c/p>\n\u003cp>\u003cstrong>Bad news:\u003c/strong> we're still on hiatus.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/c9b0efb2db0e8884d71b7ee10c63bcc9.500x265x21.gif\" rel=\"attachment wp-att-19879\">\u003cimg class=\"aligncenter size-full wp-image-19879\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/c9b0efb2db0e8884d71b7ee10c63bcc9.500x265x21.gif\" alt=\"leo i defy you stars gif\" width=\"500\" height=\"265\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Good news:\u003c/strong> that hiatus will be dunzo on January 28th with the debut of an all-new full-length episode!!!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" rel=\"attachment wp-att-19880\">\u003cimg class=\"aligncenter size-full wp-image-19880\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" alt=\"leo dicaprio dancing\" width=\"568\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>I felt lazy just leaving it at that for the week so I put together my 10 favorite bizzare-o predictions Nikki, Psychic to the Stars, made for the coming year.\u003c/p>\n\u003cp>They involve a cat and dog hybrid:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" rel=\"attachment wp-att-19918\">\u003cimg class=\"aligncenter size-full wp-image-19918\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" alt=\"tumblr_nn6wva7RbO1sf2cm2o1_500\" width=\"500\" height=\"398\">\u003c/a>\u003c/p>\n\u003cp>A White House break-in by a monkey (here's hoping it's our beloved IKEA friend):\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" rel=\"attachment wp-att-19919\">\u003cimg class=\"aligncenter size-full wp-image-19919\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" alt=\"anigif_enhanced-buzz-25328-1384182042-35\" width=\"477\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And yet another Kardashian-West baby by the name of Krystal South:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" rel=\"attachment wp-att-19920\">\u003cimg class=\"aligncenter size-full wp-image-19920\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" alt=\"kimk-1415673876\" width=\"460\" height=\"262\">\u003c/a>\u003c/p>\n\u003cp>Listen to find out what 2016 allegedly has in store!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/242057775&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>And that's just scratching the surface. Nikki has hundreds of other predictions too. For the full list, check out her website:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.psychicnikki.com/\">Nikki - Psychic to the Stars - 416-961-7976\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Huge ants, a cat dog hybrid and Krystal South Kardashian West, coming to a future near you!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, I'm sharing two bits of news with you dear listeners.\u003c/p>\n\u003cp>\u003cstrong>Bad news:\u003c/strong> we're still on hiatus.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/c9b0efb2db0e8884d71b7ee10c63bcc9.500x265x21.gif\" rel=\"attachment wp-att-19879\">\u003cimg class=\"aligncenter size-full wp-image-19879\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/c9b0efb2db0e8884d71b7ee10c63bcc9.500x265x21.gif\" alt=\"leo i defy you stars gif\" width=\"500\" height=\"265\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Good news:\u003c/strong> that hiatus will be dunzo on January 28th with the debut of an all-new full-length episode!!!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" rel=\"attachment wp-att-19880\">\u003cimg class=\"aligncenter size-full wp-image-19880\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" alt=\"leo dicaprio dancing\" width=\"568\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>I felt lazy just leaving it at that for the week so I put together my 10 favorite bizzare-o predictions Nikki, Psychic to the Stars, made for the coming year.\u003c/p>\n\u003cp>They involve a cat and dog hybrid:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" rel=\"attachment wp-att-19918\">\u003cimg class=\"aligncenter size-full wp-image-19918\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" alt=\"tumblr_nn6wva7RbO1sf2cm2o1_500\" width=\"500\" height=\"398\">\u003c/a>\u003c/p>\n\u003cp>A White House break-in by a monkey (here's hoping it's our beloved IKEA friend):\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" rel=\"attachment wp-att-19919\">\u003cimg class=\"aligncenter size-full wp-image-19919\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" alt=\"anigif_enhanced-buzz-25328-1384182042-35\" width=\"477\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And yet another Kardashian-West baby by the name of Krystal South:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" rel=\"attachment wp-att-19920\">\u003cimg class=\"aligncenter size-full wp-image-19920\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" alt=\"kimk-1415673876\" width=\"460\" height=\"262\">\u003c/a>\u003c/p>\n\u003cp>Listen to find out what 2016 allegedly has in store!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/242057775&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>And that's just scratching the surface. Nikki has hundreds of other predictions too. For the full list, check out her website:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.psychicnikki.com/\">Nikki - Psychic to the Stars - 416-961-7976\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Listen to This Terrifying New Donald Trump Song Sung By Small Children",
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"content": "\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vPRfP_TEQ-g\u003c/p>\n\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\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/vPRfP_TEQ-g'\n title='//www.youtube.com/embed/vPRfP_TEQ-g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you get when you cross a father who was a preacher, an uncle who was a pimp, a professional boxing career and an acoustic guitar?\u003c/p>\n\u003cp>Believe it or not, this isn’t a hypothetical joke from some Catskills comedian’s standup act — it’s the real-life biography Paul Thorn, the second-most famous singer to come out of Tupelo, Mississippi. And while Thorn’s own albums are must-haves in any Americana collection, the real way to experience the guy is live and in person — perfectly complementing his music are Thorn’s well-honed anecdotes, sardonic wit and quick-thinking patter. (I once saw him make three jokes and one life lesson out of a seeing-eye dog in the audience, all in under 30 seconds flat.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7g14QbXu28\u003c/p>\n\u003cp>As for his songs, the preacher’s influence shows up (“Mission Temple Fireworks Stand”), as does the shadow of the pimp uncle (“A Long Way From Tupelo”). Sometimes the two converge (“Joanie, the Jehovah’s Witness Stripper”). Even his boxing days crop up now and again — his professional bout with Roberto Duran inspired the wryly titled “I’d Rather Be a Hammer Than a Nail.” But it’s Thorn’s songs about the rockiness of love and relationships that really shine: “I Don’t Want to Know,” “Everybody Looks Good at the Starting Line.” And he knows more than anyone that he ain’t no hero. About an early song called “Resurrection Day,” I once heard him introduce it in his Mississippi drawl:\u003c/p>\n\u003cblockquote>\u003cp>My first album was all songs I wrote to try and win back a girl who broke up with me because I cheated on her. The story is as simple as that. When the album came out, I thought she would hear the songs and be so overcome that she’d run back to me. But instead of winning her back, they only gave her more power to treat me like dirt. And that’s what she did, for a long time. So here’s a very beautiful song that accomplished nothing.\u003c/p>\u003c/blockquote>\n\u003cp>Thorn’s latest album is \u003cem>Too Blessed to Be Stressed\u003c/em>, and plays with his band on \u003ca href=\"http://www.thefreight.org/paul-thorn-band-3\" target=\"_blank\" rel=\"noopener\">Saturday, Jan. 16 at Freight & Salvage in Berkeley\u003c/a> and \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6336605&pl=mystic\" target=\"_blank\" rel=\"noopener\">Wednesday, Jan. 20 at the Mystic Theatre in Petaluma\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other recommended live music events around the Bay Area this week include:\u003c/p>\n\u003cfigure id=\"attachment_11244240\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/blockhead.jpg\" alt=\"Blockhead.\" width=\"460\" height=\"290\" class=\"size-full wp-image-11244240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead-400x252.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Blockhead.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 15: Blockhead at the New Parish.\u003c/strong> As an early producer for Aesop Rock, Blockhead wedged his foot in the instrumental hip-hop door at a time when independent hip-hop was at a peak. And while other pioneers of the form may have eventually enjoyed higher visibility (see: the \u003cem>Mad Men\u003c/em> theme song, by producer RJD2), Blockhead’s music has a timelessness rooted in the boom-bap tradition. He performs at the New Parish alongside art by Dan Hampe, Rachel Mandala, Sun Dough, Dustin Derego and Lucas Rodri; Mikos Da Gawd, Barisone and DJ Bluz open. \u003ca href=\"http://thenewparish.com/event.cfm?id=228036\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244242\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg\" alt=\"The Kahane Trio.\" width=\"630\" height=\"310\" class=\"size-full wp-image-11244242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">The Kahane Trio.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16: Jeffrey Kahane Trio at the Green Music Center\u003c/strong>. When he left the conductor’s position at the Santa Rosa Symphony in 2006, Jeffrey Kahane had reinvented the orchestra and raised its reputation significantly in a span of just 10 years. Though he’s returned intermittently to guest-conduct or, more often, perform as a piano soloist, Kahane’s return this week in a trio setting is a rare treat. Along with Joseph Swensen on violin and Carter Brey on cello, Kahane performs trios by Mozart, Schumann and Schubert in the Green Music Center’s acoustically exquisite main hall. \u003ca href=\"http://gmc.sonoma.edu/event/2542386-kahane-swensen-brey-trio\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244239\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg\" alt=\"Vanessa Carlton.\" width=\"460\" height=\"282\" class=\"size-full wp-image-11244239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton-400x245.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Carlton.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Jan. 19: Vanessa Carlton at the Independent\u003c/strong>. Here’s a test. Ask yourself, “Do I know a Vanessa Carlton song?” If your answer is “no,” \u003ca href=\"https://www.youtube.com/watch?v=Cwkej79U3ek\" target=\"_blank\" rel=\"noopener\">click right here\u003c/a> and feel the wave of recognition wash over you. “A Thousand Miles,” from 2000, is the type of song that’s still played on radio stations and dentist’s office’s P.A. systems nationwide. Carlton’s come a long way from that albatross of a hit — in fact, to obtain her current recording contract, she sent anonymous demos to the record company so as not to cloud the music with preconceived notions of a former teen pop star. The result is \u003cem>Liberman\u003c/em>, an album that showcases Carlton’s maturity — she recently married Deer Tick frontman John McCauley III and became a mom — and ever-emotive voice. \u003ca href=\"http://www.apeconcerts.com/event/1004873-vanessa-carlton-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244241\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg\" alt=\"Lupe Fiasco.\" width=\"460\" height=\"266\" class=\"size-full wp-image-11244241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite-400x231.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Lupe Fiasco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20: Lupe Fiasco at the Mezzanine\u003c/strong>. It’s been almost 10 years since Chicago rapper Lupe Fiasco’s breakout debut, \u003cem>Food & Liquor\u003c/em>, and hip-hop from the Windy City has undergone major transformations since — most notably the rise of Chief Keef’s drill-style hip-hop and Chance the Rapper’s live-jazz collaborations. Fiasco’s new album, \u003cem>Tetsuo & Youth\u003c/em>, is based on his upbringing in Chicago, and it’s as conscious-minded and political as ever. \u003ca href=\"http://mezzaninesf.com/events/lupe-fiasco-tour-for-the-fans/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you get when you cross a father who was a preacher, an uncle who was a pimp, a professional boxing career and an acoustic guitar?\u003c/p>\n\u003cp>Believe it or not, this isn’t a hypothetical joke from some Catskills comedian’s standup act — it’s the real-life biography Paul Thorn, the second-most famous singer to come out of Tupelo, Mississippi. And while Thorn’s own albums are must-haves in any Americana collection, the real way to experience the guy is live and in person — perfectly complementing his music are Thorn’s well-honed anecdotes, sardonic wit and quick-thinking patter. (I once saw him make three jokes and one life lesson out of a seeing-eye dog in the audience, all in under 30 seconds flat.)\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/r7g14QbXu28'\n title='//www.youtube.com/embed/r7g14QbXu28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for his songs, the preacher’s influence shows up (“Mission Temple Fireworks Stand”), as does the shadow of the pimp uncle (“A Long Way From Tupelo”). Sometimes the two converge (“Joanie, the Jehovah’s Witness Stripper”). Even his boxing days crop up now and again — his professional bout with Roberto Duran inspired the wryly titled “I’d Rather Be a Hammer Than a Nail.” But it’s Thorn’s songs about the rockiness of love and relationships that really shine: “I Don’t Want to Know,” “Everybody Looks Good at the Starting Line.” And he knows more than anyone that he ain’t no hero. About an early song called “Resurrection Day,” I once heard him introduce it in his Mississippi drawl:\u003c/p>\n\u003cblockquote>\u003cp>My first album was all songs I wrote to try and win back a girl who broke up with me because I cheated on her. The story is as simple as that. When the album came out, I thought she would hear the songs and be so overcome that she’d run back to me. But instead of winning her back, they only gave her more power to treat me like dirt. And that’s what she did, for a long time. So here’s a very beautiful song that accomplished nothing.\u003c/p>\u003c/blockquote>\n\u003cp>Thorn’s latest album is \u003cem>Too Blessed to Be Stressed\u003c/em>, and plays with his band on \u003ca href=\"http://www.thefreight.org/paul-thorn-band-3\" target=\"_blank\" rel=\"noopener\">Saturday, Jan. 16 at Freight & Salvage in Berkeley\u003c/a> and \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6336605&pl=mystic\" target=\"_blank\" rel=\"noopener\">Wednesday, Jan. 20 at the Mystic Theatre in Petaluma\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other recommended live music events around the Bay Area this week include:\u003c/p>\n\u003cfigure id=\"attachment_11244240\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/blockhead.jpg\" alt=\"Blockhead.\" width=\"460\" height=\"290\" class=\"size-full wp-image-11244240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead-400x252.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Blockhead.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 15: Blockhead at the New Parish.\u003c/strong> As an early producer for Aesop Rock, Blockhead wedged his foot in the instrumental hip-hop door at a time when independent hip-hop was at a peak. And while other pioneers of the form may have eventually enjoyed higher visibility (see: the \u003cem>Mad Men\u003c/em> theme song, by producer RJD2), Blockhead’s music has a timelessness rooted in the boom-bap tradition. He performs at the New Parish alongside art by Dan Hampe, Rachel Mandala, Sun Dough, Dustin Derego and Lucas Rodri; Mikos Da Gawd, Barisone and DJ Bluz open. \u003ca href=\"http://thenewparish.com/event.cfm?id=228036\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244242\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg\" alt=\"The Kahane Trio.\" width=\"630\" height=\"310\" class=\"size-full wp-image-11244242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">The Kahane Trio.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16: Jeffrey Kahane Trio at the Green Music Center\u003c/strong>. When he left the conductor’s position at the Santa Rosa Symphony in 2006, Jeffrey Kahane had reinvented the orchestra and raised its reputation significantly in a span of just 10 years. Though he’s returned intermittently to guest-conduct or, more often, perform as a piano soloist, Kahane’s return this week in a trio setting is a rare treat. Along with Joseph Swensen on violin and Carter Brey on cello, Kahane performs trios by Mozart, Schumann and Schubert in the Green Music Center’s acoustically exquisite main hall. \u003ca href=\"http://gmc.sonoma.edu/event/2542386-kahane-swensen-brey-trio\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244239\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg\" alt=\"Vanessa Carlton.\" width=\"460\" height=\"282\" class=\"size-full wp-image-11244239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton-400x245.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Carlton.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Jan. 19: Vanessa Carlton at the Independent\u003c/strong>. Here’s a test. Ask yourself, “Do I know a Vanessa Carlton song?” If your answer is “no,” \u003ca href=\"https://www.youtube.com/watch?v=Cwkej79U3ek\" target=\"_blank\" rel=\"noopener\">click right here\u003c/a> and feel the wave of recognition wash over you. “A Thousand Miles,” from 2000, is the type of song that’s still played on radio stations and dentist’s office’s P.A. systems nationwide. Carlton’s come a long way from that albatross of a hit — in fact, to obtain her current recording contract, she sent anonymous demos to the record company so as not to cloud the music with preconceived notions of a former teen pop star. The result is \u003cem>Liberman\u003c/em>, an album that showcases Carlton’s maturity — she recently married Deer Tick frontman John McCauley III and became a mom — and ever-emotive voice. \u003ca href=\"http://www.apeconcerts.com/event/1004873-vanessa-carlton-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244241\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg\" alt=\"Lupe Fiasco.\" width=\"460\" height=\"266\" class=\"size-full wp-image-11244241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite-400x231.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Lupe Fiasco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20: Lupe Fiasco at the Mezzanine\u003c/strong>. It’s been almost 10 years since Chicago rapper Lupe Fiasco’s breakout debut, \u003cem>Food & Liquor\u003c/em>, and hip-hop from the Windy City has undergone major transformations since — most notably the rise of Chief Keef’s drill-style hip-hop and Chance the Rapper’s live-jazz collaborations. Fiasco’s new album, \u003cem>Tetsuo & Youth\u003c/em>, is based on his upbringing in Chicago, and it’s as conscious-minded and political as ever. \u003ca href=\"http://mezzaninesf.com/events/lupe-fiasco-tour-for-the-fans/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Late night TV is a crowded field, but James Corden keeps grabbing our attention with silly bits like car karaoke, in which he picks up a super famous singer, drives them around and forces them to sing their own songs with him. I didn't think anyone could top the vocals from \u003ca href=\"https://www.youtube.com/watch?v=nGze8bbBQ-A\" target=\"_blank\">Jennifer Hudson's ride-along\u003c/a>, yet here we are. Adele hops in and flawlessly performs her own singles (obvi), but then goes the extra mile and aces the Spice Girls' \"Wannabe\" and the coup de grace Nicki Minaj's entire verse from \"Monster.\" It's truly something to behold:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nck6BZga7TQ\u003c/p>\n\u003cp>And in case you're wondering what Nicki thinks of all this, she's loving it just as much as we are:\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/687521370385743872\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Nicki's verdict on Adele's rendition of her verse: \"Pull thru, QUEEN!!!!!!\" Ditto.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late night TV is a crowded field, but James Corden keeps grabbing our attention with silly bits like car karaoke, in which he picks up a super famous singer, drives them around and forces them to sing their own songs with him. I didn't think anyone could top the vocals from \u003ca href=\"https://www.youtube.com/watch?v=nGze8bbBQ-A\" target=\"_blank\">Jennifer Hudson's ride-along\u003c/a>, yet here we are. Adele hops in and flawlessly performs her own singles (obvi), but then goes the extra mile and aces the Spice Girls' \"Wannabe\" and the coup de grace Nicki Minaj's entire verse from \"Monster.\" It's truly something to behold:\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/Nck6BZga7TQ'\n title='//www.youtube.com/embed/Nck6BZga7TQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And in case you're wondering what Nicki thinks of all this, she's loving it just as much as we are:\u003c/p>\u003c/p>\u003c/div>",
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"title": "(Almost) Everything You'll See on Peter Coyote's Haight-Ashbury Walking Tour",
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"content": "\u003cp>When I’d heard that \u003ca href=\"https://www.detour.com/\" target=\"_blank\" rel=\"noopener\">Detour\u003c/a> had created a \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">walking tour of the Haight-Ashbury\u003c/a>, I was instantly dubious.\u003c/p>\n\u003cp>Part of it is my wariness of tech’s often unfulfilled promise to create a rich, human experience; Detour is an app that offers tours of neighborhoods, narrated by notable figures and experienced through one’s GPS-enabled smartphone. But a larger part is that, as a child of the 1980s, hearing Boomers wax rhapsodic about San Francisco’s rock revolution of the 1960s being The Most Important Thing To Happen In The World Ever has become, well, a weary thing. How many times can someone hear the same stories about Janis Joplin, the Jefferson Airplane and the Grateful Dead?\u003c/p>\n\u003cp>I’m here to tell you that my hesitation was unwarranted, and for a simple reason: Peter Coyote, the tour’s host, who provides a firsthand account of the neighborhood without the back-patting and self-serving revisionist history so prevalent in reminiscences of 1960s-era Haight-Ashbury. (In a \u003ca href=\"http://blog.detour.com/request-for-pitches/\" target=\"_blank\" rel=\"noopener\">call for pitches last year\u003c/a>, Detour asked specifically for “something even hippy-haters would love,” and while Coyote certainly has personal anecdotes galore, he sufficiently distances himself from nostalgia on the tour (which, full disclosure, is presented by KQED)). He also focuses less on the well-trampled underground rock scene, and more on the noble ideals of he and his LBJ-era peers. And, importantly, this is one of those rare times that an app truly delivers on the “human connection” promise — visitors have the sensation that Coyote is walking right alongside them.\u003c/p>\n\u003cfigure id=\"attachment_11241706\" 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/StreetView-800x600.jpg\" alt=\"Haight Street.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11241706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Haight Street.\u003c/figcaption>\u003c/figure>\n\u003cp>On his old stomping grounds — Coyote was an early member of the \u003ca href=\"https://en.wikipedia.org/wiki/Diggers_%28theater%29\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Mime_Troupe\" target=\"_blank\" rel=\"noopener\">San Francisco Mime Troupe\u003c/a> — he evaluates the Haight’s accomplishments realistically and talks honestly about the seedy underbelly of the era. Coyote has fun with the app’s technical possibilities too; after an intro about \u003ca href=\"https://foursquare.com/v/susan-j-bierman-memorial-benches/526d9ae111d256e38ca64e4c\" target=\"_blank\" rel=\"noopener\">Sue Bierman\u003c/a> and her fight against the plans for a freeway running through the panhandle, where Jimi Hendrix performed and where the SF Mime Troupe began, he asks me to cross the street. “And don’t get run over,” he says while I’m in the middle of the crosswalk, “or you’ll miss how it turns out.” \u003c/p>\n\u003cp>Here’s a peek into how it turns out. I won’t give away everything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Coyote introduces the neighborhood by talking about the artists priced out of North Beach who flocked there in the early 1960s, and of their homes overrun with visitors, “doors wide open,” welcoming to all. As I walk up Cole Street, right at this part, I notice a very different type of welcome here in 2016. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg\" alt=\"NoTress\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Around the corner, I’m brought to the former site of the Free Store, an operation located inside a garage where everything was free — “You could even get a free new identity here,” Coyote says, explaining the site’s draft-card ring for those who wished to leave their white collared shirts on the rack and disappear into the Haight. (There’s a great story here about the birth of tie-dye, too.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg\" alt=\"FreeSTore\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tour asks visitors to bring along a small object, and a small metal box in front of the house is the reason why. The current residents have agreed to this tiny re-creation of the free store, where visitors are given the combination to the box and trade their small item for another. It’s marvelous, really. As I was crouched down, the mailman mistook me for the owner of the house and tried to hand me the mail. Then Peter Coyote told me about the time that Fish & Game offered the Free Store a 1,500-lb. whale (they accepted).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg\" alt=\"FreeBox\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>Up Ashbury, after Coyote bemoans the way \u003cem>Chronicle\u003c/em> columnist Herb Caen “infantilized us” by coining the term “hippie,” I come to Janis Joplin’s old house.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg\" alt=\"JanisHouse\" width=\"451\" height=\"600\" class=\"aligncenter size-medium wp-image-11241708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse.jpg 600w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Coyote explains he was friends with Joplin, drug partners, lovers, even; he spends as much time on her as he spends on a woman who was thrown off a roof in a drug deal gone bad, up the street at 719 Ashbury, right across from the Grateful Dead’s old house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg\" alt=\"DeadHouse\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Taking LSD is like taking a helicopter ride to the edge of the Grand Canyon,” Coyote says, by way of getting into the drug casualties, overdoses, theft and other elements that riddled the scene. He returns to this later, but now it’s time to head into the Haight-Ashbury Music Center. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg\" alt=\"MusicStore\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Yes, you walk into the store, and ask the clerk to go into the back room. At this point Coyote hands the tour over to Mary Gannon Alfiler, former bassist for the band Ace of Cups, who tells great stories about how sexist the rock industry was in the ’60s, including her timeless response to a request to play topless. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg\" alt=\"AceCups\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>I’m also directed into Booksmith, where I get to ask the friendly girl behind the counter for a book of Jim Marshall’s photographs of the neighborhood. I also get to sit at this fine desk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg\" alt=\"Booksmith\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Do you see any street kids around?” Coyote asks me, and sure enough, three dreadlocked teens in backbacks walk by holding a sign that reads “Just Passing Thru / Love You / Spare a Few.” He directs my attention to Huckleberry House, the homeless center still in operation to this day, before guiding me to the exterior of the Haight-Ashbury Free Clinic. There, founder \u003ca href=\"https://en.wikipedia.org/wiki/David_E._Smith\" target=\"_blank\" rel=\"noopener\">Dr. Dave\u003c/a> tells me, “We would treat over 100 heroin addicts a day.” The sign once posted on the door at its original opening is replicated anew.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg\" alt=\"FreeCLinicDoor\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Coyote mentions the iconography that now represents his era: the abundance in the neighborhood of smiley faces, peace signs, and dead rock stars. “They just don’t line up with my vision of what the scene was,” he says, “and what we set out to accomplish.” Particular notice is given to the presence of George Harrison on a tall mural; George Harrison called the Haight “terrible,” Coyote says, and stopped taking LSD after visiting San Francisco and seeing what it’d done. And now he’s on a mural here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/George-798x600.jpg\" alt=\"George\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>But Coyote allows some pride for what he and his fellow Haight residents accomplished. Not for having revolutionized the world, but for, as he puts it, while I stand in a patio behind Jimi Hendrix’s old place, “moving the cultural needle.” The idea that women should be treated equally, the idea that medical care should be available to all, the idea that healthy food should be in steady supply — “the fact that these victories seem unremarkable,” he says, “well, that’s the best victory of all. They’re \u003cem>normal\u003c/em> now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Detour’s suite of San Francisco tours is $24.99, and \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">available here\u003c/a>. Tours in the package include “The Castro,” “The Tenderloin,” “The Beat Generation,” “Fisherman’s Wharf,” “Cool Gray City,” “Architecture,” “Beyond the Painted Ladies” and more; “Haight-Ashbury” is presented by KQED. \u003ca href=\"http://www.petercoyote.com/\" target=\"_blank\" rel=\"noopener\">Peter Coyote\u003c/a> can be seen in the Mandy Moore classic ‘A Walk to Remember’ and in the courtroom drama ‘Jagged Edge,’ among over 120 other feature-length films.\u003c/em>\u003c/p>\n\n",
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"title": "(Almost) Everything You'll See on Peter Coyote's Haight-Ashbury Walking Tour | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I’d heard that \u003ca href=\"https://www.detour.com/\" target=\"_blank\" rel=\"noopener\">Detour\u003c/a> had created a \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">walking tour of the Haight-Ashbury\u003c/a>, I was instantly dubious.\u003c/p>\n\u003cp>Part of it is my wariness of tech’s often unfulfilled promise to create a rich, human experience; Detour is an app that offers tours of neighborhoods, narrated by notable figures and experienced through one’s GPS-enabled smartphone. But a larger part is that, as a child of the 1980s, hearing Boomers wax rhapsodic about San Francisco’s rock revolution of the 1960s being The Most Important Thing To Happen In The World Ever has become, well, a weary thing. How many times can someone hear the same stories about Janis Joplin, the Jefferson Airplane and the Grateful Dead?\u003c/p>\n\u003cp>I’m here to tell you that my hesitation was unwarranted, and for a simple reason: Peter Coyote, the tour’s host, who provides a firsthand account of the neighborhood without the back-patting and self-serving revisionist history so prevalent in reminiscences of 1960s-era Haight-Ashbury. (In a \u003ca href=\"http://blog.detour.com/request-for-pitches/\" target=\"_blank\" rel=\"noopener\">call for pitches last year\u003c/a>, Detour asked specifically for “something even hippy-haters would love,” and while Coyote certainly has personal anecdotes galore, he sufficiently distances himself from nostalgia on the tour (which, full disclosure, is presented by KQED)). He also focuses less on the well-trampled underground rock scene, and more on the noble ideals of he and his LBJ-era peers. And, importantly, this is one of those rare times that an app truly delivers on the “human connection” promise — visitors have the sensation that Coyote is walking right alongside them.\u003c/p>\n\u003cfigure id=\"attachment_11241706\" 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/StreetView-800x600.jpg\" alt=\"Haight Street.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11241706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Haight Street.\u003c/figcaption>\u003c/figure>\n\u003cp>On his old stomping grounds — Coyote was an early member of the \u003ca href=\"https://en.wikipedia.org/wiki/Diggers_%28theater%29\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Mime_Troupe\" target=\"_blank\" rel=\"noopener\">San Francisco Mime Troupe\u003c/a> — he evaluates the Haight’s accomplishments realistically and talks honestly about the seedy underbelly of the era. Coyote has fun with the app’s technical possibilities too; after an intro about \u003ca href=\"https://foursquare.com/v/susan-j-bierman-memorial-benches/526d9ae111d256e38ca64e4c\" target=\"_blank\" rel=\"noopener\">Sue Bierman\u003c/a> and her fight against the plans for a freeway running through the panhandle, where Jimi Hendrix performed and where the SF Mime Troupe began, he asks me to cross the street. “And don’t get run over,” he says while I’m in the middle of the crosswalk, “or you’ll miss how it turns out.” \u003c/p>\n\u003cp>Here’s a peek into how it turns out. I won’t give away everything.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coyote introduces the neighborhood by talking about the artists priced out of North Beach who flocked there in the early 1960s, and of their homes overrun with visitors, “doors wide open,” welcoming to all. As I walk up Cole Street, right at this part, I notice a very different type of welcome here in 2016. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg\" alt=\"NoTress\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Around the corner, I’m brought to the former site of the Free Store, an operation located inside a garage where everything was free — “You could even get a free new identity here,” Coyote says, explaining the site’s draft-card ring for those who wished to leave their white collared shirts on the rack and disappear into the Haight. (There’s a great story here about the birth of tie-dye, too.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg\" alt=\"FreeSTore\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tour asks visitors to bring along a small object, and a small metal box in front of the house is the reason why. The current residents have agreed to this tiny re-creation of the free store, where visitors are given the combination to the box and trade their small item for another. It’s marvelous, really. As I was crouched down, the mailman mistook me for the owner of the house and tried to hand me the mail. Then Peter Coyote told me about the time that Fish & Game offered the Free Store a 1,500-lb. whale (they accepted).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg\" alt=\"FreeBox\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>Up Ashbury, after Coyote bemoans the way \u003cem>Chronicle\u003c/em> columnist Herb Caen “infantilized us” by coining the term “hippie,” I come to Janis Joplin’s old house.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg\" alt=\"JanisHouse\" width=\"451\" height=\"600\" class=\"aligncenter size-medium wp-image-11241708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse.jpg 600w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Coyote explains he was friends with Joplin, drug partners, lovers, even; he spends as much time on her as he spends on a woman who was thrown off a roof in a drug deal gone bad, up the street at 719 Ashbury, right across from the Grateful Dead’s old house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg\" alt=\"DeadHouse\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Taking LSD is like taking a helicopter ride to the edge of the Grand Canyon,” Coyote says, by way of getting into the drug casualties, overdoses, theft and other elements that riddled the scene. He returns to this later, but now it’s time to head into the Haight-Ashbury Music Center. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg\" alt=\"MusicStore\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Yes, you walk into the store, and ask the clerk to go into the back room. At this point Coyote hands the tour over to Mary Gannon Alfiler, former bassist for the band Ace of Cups, who tells great stories about how sexist the rock industry was in the ’60s, including her timeless response to a request to play topless. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg\" alt=\"AceCups\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>I’m also directed into Booksmith, where I get to ask the friendly girl behind the counter for a book of Jim Marshall’s photographs of the neighborhood. I also get to sit at this fine desk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg\" alt=\"Booksmith\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Do you see any street kids around?” Coyote asks me, and sure enough, three dreadlocked teens in backbacks walk by holding a sign that reads “Just Passing Thru / Love You / Spare a Few.” He directs my attention to Huckleberry House, the homeless center still in operation to this day, before guiding me to the exterior of the Haight-Ashbury Free Clinic. There, founder \u003ca href=\"https://en.wikipedia.org/wiki/David_E._Smith\" target=\"_blank\" rel=\"noopener\">Dr. Dave\u003c/a> tells me, “We would treat over 100 heroin addicts a day.” The sign once posted on the door at its original opening is replicated anew.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg\" alt=\"FreeCLinicDoor\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Coyote mentions the iconography that now represents his era: the abundance in the neighborhood of smiley faces, peace signs, and dead rock stars. “They just don’t line up with my vision of what the scene was,” he says, “and what we set out to accomplish.” Particular notice is given to the presence of George Harrison on a tall mural; George Harrison called the Haight “terrible,” Coyote says, and stopped taking LSD after visiting San Francisco and seeing what it’d done. And now he’s on a mural here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/George-798x600.jpg\" alt=\"George\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>But Coyote allows some pride for what he and his fellow Haight residents accomplished. Not for having revolutionized the world, but for, as he puts it, while I stand in a patio behind Jimi Hendrix’s old place, “moving the cultural needle.” The idea that women should be treated equally, the idea that medical care should be available to all, the idea that healthy food should be in steady supply — “the fact that these victories seem unremarkable,” he says, “well, that’s the best victory of all. They’re \u003cem>normal\u003c/em> now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Detour’s suite of San Francisco tours is $24.99, and \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">available here\u003c/a>. Tours in the package include “The Castro,” “The Tenderloin,” “The Beat Generation,” “Fisherman’s Wharf,” “Cool Gray City,” “Architecture,” “Beyond the Painted Ladies” and more; “Haight-Ashbury” is presented by KQED. \u003ca href=\"http://www.petercoyote.com/\" target=\"_blank\" rel=\"noopener\">Peter Coyote\u003c/a> can be seen in the Mandy Moore classic ‘A Walk to Remember’ and in the courtroom drama ‘Jagged Edge,’ among over 120 other feature-length films.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So you’ve spent a good 36 hours listening to David Bowie, reading tributes to the man, maybe silently weeping a bit. What to do now?\u003c/p>\n\u003cp>Get out of your house. No, really. Starman would want us to dress up, to pour on the body glitter, to dance, to get weird. Luckily, there are plenty of places to do that in the coming week — and, just like Bowie would have wanted, they’re all $20 and under. Throw in some comedy, a legendary hip-hop crew, and local psych-rock, and you’ve got yourself a solid \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: A Celebration of the Life and Music of David Bowie ft. the First Church of the Sacred Silversexual at Slim’s, SF. \u003c/strong>If you’ve gotta be anywhere in the U.S. when a beloved queer icon like Bowie dies, San Francisco is a damn good place to be. Case in point: We have a fully-fledged Bowie-based cabaret/tribute band/glitter party at the ready. For the uninitiated, I’m talking about the \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual\u003c/a>, who’ll be holding court at this sure-to-be-emotional (and sparkly) bash. $10; \u003ca href=\"http://www.slimspresents.com/event/celebrating-the-life-and-art-of-david-bowie-w-the-first-church-of-the-sacred-silversexual-slims/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9G4jnaznUoQ\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: The David Bowie Music Video Celebration at the New Mission (Alamo Drafthouse), SF. \u003c/strong>This event is exactly what it sounds like. Check out this swanky new movie theater (which includes a full bar and a menu full of upscale comfort food) while grooving to the icon’s finest contributions to the audio-visual genre. Because no matter how many times I watch this bizarre, coked-out rendition of “Dancing In the Street,” seeing it on the big screen would be something else entirely. \u003ca href=\"https://drafthouse.com/sf/show/david-bowie-memorial-sing-along\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: Sketchfest Nightlife at the Cal Academy of Sciences, SF. \u003c/strong>What’s better than hundreds of comics pouring into San Francisco for a two-week-long festival of stand up, podcasts, performance, and general riffage? Sequestering a bunch of ’em in a science museum, then adding cocktails. Check out “Fake Ted Talks” with Adam Savage from \u003cem>Mythbusters\u003c/em>; movie riffing with original members of the \u003cem>Mystery Science Theater 3000\u003c/em> cast; “Competitive Erotic Fan Fiction” with Kevin Allison of \u003cem>The State \u003c/em>and the RISK! podcast; and more. $15; \u003ca href=\"https://www.calacademy.org/nightlife/sketchfest-nightlife\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u1dVx4Pfd0c\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14: Dead Prez at the Catalyst, Santa Cruz. \u003c/strong>Social and political activism have been intrinsically connected to hip-hop since the genre’s earliest moments — but few and far between are acts committed to their ideals as Dead Prez. Anti-racist, anti-capitalist, and surely anti-major label, the East Coast’s answer to the Coup is still going strong some 20 years after their start. $20; \u003ca href=\"http://www.catalystclub.com/event/1015201-dead-prez-santa-cruz/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14 – Saturday, Jan. 15: ‘The Labyrinth’ at The New Parkway, Oakland. \u003c/strong>Admit it: For many of us, before Bowie was a rock god, he was the Goblin King — just a regular dude who wore really tight leather pants and hung out with Muppets, kidnapping a human baby now and then for fun. If it sounds terrifying that’s because it is; it’s also one of the coolest “kids’ movies” ever made. $8; \u003ca href=\"http://brownpapertickets.com/event/2489323\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a_UL2gYVSZ4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 15: Kelley Stoltz at The Chapel, SF. \u003c/strong>You might not know Kelley Stoltz’s name, but if you follow the Bay Area indie-psych/garage scene at all, he’s likely been involved in one of your favorite records. (To wit: his most recent recorded output was under the pseudonym Willie Weird.) No matter what you call him, you won’t regret taking the chance to see him play to a hometown crowd. $15; \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-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>So you’ve spent a good 36 hours listening to David Bowie, reading tributes to the man, maybe silently weeping a bit. What to do now?\u003c/p>\n\u003cp>Get out of your house. No, really. Starman would want us to dress up, to pour on the body glitter, to dance, to get weird. Luckily, there are plenty of places to do that in the coming week — and, just like Bowie would have wanted, they’re all $20 and under. Throw in some comedy, a legendary hip-hop crew, and local psych-rock, and you’ve got yourself a solid \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: A Celebration of the Life and Music of David Bowie ft. the First Church of the Sacred Silversexual at Slim’s, SF. \u003c/strong>If you’ve gotta be anywhere in the U.S. when a beloved queer icon like Bowie dies, San Francisco is a damn good place to be. Case in point: We have a fully-fledged Bowie-based cabaret/tribute band/glitter party at the ready. For the uninitiated, I’m talking about the \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual\u003c/a>, who’ll be holding court at this sure-to-be-emotional (and sparkly) bash. $10; \u003ca href=\"http://www.slimspresents.com/event/celebrating-the-life-and-art-of-david-bowie-w-the-first-church-of-the-sacred-silversexual-slims/\" 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/9G4jnaznUoQ'\n title='//www.youtube.com/embed/9G4jnaznUoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, Jan. 14: The David Bowie Music Video Celebration at the New Mission (Alamo Drafthouse), SF. \u003c/strong>This event is exactly what it sounds like. Check out this swanky new movie theater (which includes a full bar and a menu full of upscale comfort food) while grooving to the icon’s finest contributions to the audio-visual genre. Because no matter how many times I watch this bizarre, coked-out rendition of “Dancing In the Street,” seeing it on the big screen would be something else entirely. \u003ca href=\"https://drafthouse.com/sf/show/david-bowie-memorial-sing-along\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\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. 14: Sketchfest Nightlife at the Cal Academy of Sciences, SF. \u003c/strong>What’s better than hundreds of comics pouring into San Francisco for a two-week-long festival of stand up, podcasts, performance, and general riffage? Sequestering a bunch of ’em in a science museum, then adding cocktails. Check out “Fake Ted Talks” with Adam Savage from \u003cem>Mythbusters\u003c/em>; movie riffing with original members of the \u003cem>Mystery Science Theater 3000\u003c/em> cast; “Competitive Erotic Fan Fiction” with Kevin Allison of \u003cem>The State \u003c/em>and the RISK! podcast; and more. $15; \u003ca href=\"https://www.calacademy.org/nightlife/sketchfest-nightlife\" 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/u1dVx4Pfd0c'\n title='//www.youtube.com/embed/u1dVx4Pfd0c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 14: Dead Prez at the Catalyst, Santa Cruz. \u003c/strong>Social and political activism have been intrinsically connected to hip-hop since the genre’s earliest moments — but few and far between are acts committed to their ideals as Dead Prez. Anti-racist, anti-capitalist, and surely anti-major label, the East Coast’s answer to the Coup is still going strong some 20 years after their start. $20; \u003ca href=\"http://www.catalystclub.com/event/1015201-dead-prez-santa-cruz/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14 – Saturday, Jan. 15: ‘The Labyrinth’ at The New Parkway, Oakland. \u003c/strong>Admit it: For many of us, before Bowie was a rock god, he was the Goblin King — just a regular dude who wore really tight leather pants and hung out with Muppets, kidnapping a human baby now and then for fun. If it sounds terrifying that’s because it is; it’s also one of the coolest “kids’ movies” ever made. $8; \u003ca href=\"http://brownpapertickets.com/event/2489323\" 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/a_UL2gYVSZ4'\n title='//www.youtube.com/embed/a_UL2gYVSZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 15: Kelley Stoltz at The Chapel, SF. \u003c/strong>You might not know Kelley Stoltz’s name, but if you follow the Bay Area indie-psych/garage scene at all, he’s likely been involved in one of your favorite records. (To wit: his most recent recorded output was under the pseudonym Willie Weird.) No matter what you call him, you won’t regret taking the chance to see him play to a hometown crowd. $15; \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Richard Howell: Saxophonist, Educator, and Hidden Jedi of Bay Area Jazz",
"headTitle": "Richard Howell: Saxophonist, Educator, and Hidden Jedi of Bay Area Jazz | KQED",
"content": "\u003cp>Saxophonist Richard Howell calls his protean jazz ensemble Sudden Changes, a moniker evoking its surging energy and quicksilver improvisational flights on the bandstand. But the name also suggests that Howell is starting a new career phase. While revered by his peers in jazz, blues and R&B, Howell has long been an under-the-radar force as a producer, arranger and educator; for more than a decade, he’s maintained higher visibility in Europe than here at home in the Bay Area.\u003c/p>\n\u003cp>That estimation could well end with Saturday’s release of an arresting new Sudden Changes album, \u003cem>Burkina\u003c/em>, and with a self-produced concert at \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2122\">Herbst Theatre.\u003c/a>\u003c/p>\n\u003cp>“I’m at an age where I think it’s time to let people know what I’m doing,” says Howell from his home in Mill Valley. “This concert isn’t through Yoshi’s or SFJAZZ. It’s me doing what I do for other artists behind the scenes, and what I’m doing for myself.”\u003c/p>\n\u003cfigure id=\"attachment_11238446\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Attachment-1-1.jpeg\" alt=\"Richard Howell.\" width=\"426\" height=\"640\" class=\"size-full wp-image-11238446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Attachment-1-1.jpeg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Attachment-1-1-400x601.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Attachment-1-1-399x600.jpeg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Richard Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, Howell is a secret weapon of the Bay Area music scene, an artist who’s provided the creative glue holding together an extraordinary range of projects. Last year he won an Izzie Award for his collaboration with choreographer Gregory Dawson in \u003cem>birds eye view\u003c/em> at the Black Choreographers Festival. He’s produced several albums by the Bay Area Afro-Brazilian ensemble Vivendo de Pão, as well as the award-winning jazz/spoken-word ensemble UpSurge! And he played an essential role as producer, arranger and soloist on two albums by the \u003ca href=\"https://www.youtube.com/watch?v=awTOvcFJtK8\">Mo’Rockin Project,\u003c/a> which created a singular synthesis of jazz and R&B with traditional North African modes and instruments.\u003c/p>\n\u003cp>“He was the innovator and creative mind behind the ensemble,” says Berkeley-based, Casablanca-born oud master Yassir Chadly, who founded the Mo’Rockin Project with the late trumpeter Kahlil Shaheed. “We’d bring the melodies and he’d create the beautiful arrangements.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sudden Changes brings together a stellar cast of musicians who have been at the center of the Bay Area scene for decades. Pianist Frederick Harris and bassist Heshima Mark Williams are first-call cats who elevate every musical setting. While now based in Las Vegas, alto saxophonist \u003ca href=\"http://www.charlesmcneal.com\">Charles McNeal\u003c/a> was a Bay Area mainstay for years known for his searing sound and deep feel for the blues.\u003c/p>\n\u003cp>“Charles is a virtuoso who knows his instrument backwards and forwards,” Howell says. “My thing is more spirited and melodic, the old-school power thing like Stanley Turrentine and Gene Ammons. He’s more Sonny Stitt and Charlie Parker, moving around the horn. We push each other, and I just love that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_XTqyuCJxGI\u003c/p>\n\u003cp>The band’s revelation is Howell’s 17-year-old son, Ele Howell, a senior at Drew School in San Francisco. A preternaturally poised drummer who spreads the beat like Elvin Jones, he’s trained under Jack Dorsey at the \u003ca href=\"http://www.oaktownjazz.org/main/\">Oaktown Jazz Workshop\u003c/a> (where Richard Howell is also an instructor), and has already shared stages with some of jazz’s most formidable improvisers. In fact, just last October he played two sold-out shows at Yoshi’s with trumpet star \u003ca href=\"https://www.youtube.com/watch?v=mVJjmyFfuts\">Christian Scott\u003c/a>, whose touring drummer was ill and couldn’t make the gig.\u003c/p>\n\u003cp>Scott performs on \u003cem>Burkina\u003c/em> as a guest artist. He’s developed a strong connection with the saxophonist via road encounters in Europe, where he’s often invited Howell to sit in with his band. “He’s like a Jedi master,” Scott says. “He has this ability to focus them in a way that’s really cool.’\u003c/p>\n\u003cp>Ele Howell first met Scott as a seven-year-old when his father brought him to see the trumpeter perform at Yoshi’s, and they’ve stayed in touch over the past decade. As a prodigy himself who came up in New Orleans under the wing of his uncle, saxophonist Donald Harrison, Scott knows all about the invaluable role a mentor can play with an exceptional young musician.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Howell2-450x600.jpg\" alt=\"Howell2\" width=\"450\" height=\"600\" class=\"alignright size-medium wp-image-11241138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Howell2-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Howell2-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Howell2.jpg 768w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Ele is going to be one of this next generation’s great young players,” Scott says. “Even as a little boy he was keenly aware of what was going on musically. It’s not just his prowess as a young drummer. His mind is the resource. He’s a really brilliant man, and a really good kid.”\u003c/p>\n\u003cp>The Los Angeles-reared Howell spent his formative years in the orbit of Earth, Wind & Fire and paid dues touring with R&B greats Etta James and Chaka Khan. He made his Bay Area jazz debut in the heaviest of company: joining trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins for a three-night run at the Great American Music Hall in the early 1980s. He laces traces of all of those experiences throughout Sudden Changes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He can bring a lot of different genres into play, and he’s got so much soul,” says Sudden Changes bassist Heshima Mark Williams, a San Francisco native who’s toured and recorded with Bobby Hutcherson and Julian Priester. “People some times perceive jazz as being clinical. You look down and your foot isn’t moving. That isn’t going to happen when you hear Richard. You’re going to feel him.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saxophonist Richard Howell calls his protean jazz ensemble Sudden Changes, a moniker evoking its surging energy and quicksilver improvisational flights on the bandstand. But the name also suggests that Howell is starting a new career phase. While revered by his peers in jazz, blues and R&B, Howell has long been an under-the-radar force as a producer, arranger and educator; for more than a decade, he’s maintained higher visibility in Europe than here at home in the Bay Area.\u003c/p>\n\u003cp>That estimation could well end with Saturday’s release of an arresting new Sudden Changes album, \u003cem>Burkina\u003c/em>, and with a self-produced concert at \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2122\">Herbst Theatre.\u003c/a>\u003c/p>\n\u003cp>“I’m at an age where I think it’s time to let people know what I’m doing,” says Howell from his home in Mill Valley. “This concert isn’t through Yoshi’s or SFJAZZ. It’s me doing what I do for other artists behind the scenes, and what I’m doing for myself.”\u003c/p>\n\u003cfigure id=\"attachment_11238446\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Attachment-1-1.jpeg\" alt=\"Richard Howell.\" width=\"426\" height=\"640\" class=\"size-full wp-image-11238446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Attachment-1-1.jpeg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Attachment-1-1-400x601.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Attachment-1-1-399x600.jpeg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Richard Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, Howell is a secret weapon of the Bay Area music scene, an artist who’s provided the creative glue holding together an extraordinary range of projects. Last year he won an Izzie Award for his collaboration with choreographer Gregory Dawson in \u003cem>birds eye view\u003c/em> at the Black Choreographers Festival. He’s produced several albums by the Bay Area Afro-Brazilian ensemble Vivendo de Pão, as well as the award-winning jazz/spoken-word ensemble UpSurge! And he played an essential role as producer, arranger and soloist on two albums by the \u003ca href=\"https://www.youtube.com/watch?v=awTOvcFJtK8\">Mo’Rockin Project,\u003c/a> which created a singular synthesis of jazz and R&B with traditional North African modes and instruments.\u003c/p>\n\u003cp>“He was the innovator and creative mind behind the ensemble,” says Berkeley-based, Casablanca-born oud master Yassir Chadly, who founded the Mo’Rockin Project with the late trumpeter Kahlil Shaheed. “We’d bring the melodies and he’d create the beautiful arrangements.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sudden Changes brings together a stellar cast of musicians who have been at the center of the Bay Area scene for decades. Pianist Frederick Harris and bassist Heshima Mark Williams are first-call cats who elevate every musical setting. While now based in Las Vegas, alto saxophonist \u003ca href=\"http://www.charlesmcneal.com\">Charles McNeal\u003c/a> was a Bay Area mainstay for years known for his searing sound and deep feel for the blues.\u003c/p>\n\u003cp>“Charles is a virtuoso who knows his instrument backwards and forwards,” Howell says. “My thing is more spirited and melodic, the old-school power thing like Stanley Turrentine and Gene Ammons. He’s more Sonny Stitt and Charlie Parker, moving around the horn. We push each other, and I just love that.”\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/_XTqyuCJxGI'\n title='//www.youtube.com/embed/_XTqyuCJxGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The band’s revelation is Howell’s 17-year-old son, Ele Howell, a senior at Drew School in San Francisco. A preternaturally poised drummer who spreads the beat like Elvin Jones, he’s trained under Jack Dorsey at the \u003ca href=\"http://www.oaktownjazz.org/main/\">Oaktown Jazz Workshop\u003c/a> (where Richard Howell is also an instructor), and has already shared stages with some of jazz’s most formidable improvisers. In fact, just last October he played two sold-out shows at Yoshi’s with trumpet star \u003ca href=\"https://www.youtube.com/watch?v=mVJjmyFfuts\">Christian Scott\u003c/a>, whose touring drummer was ill and couldn’t make the gig.\u003c/p>\n\u003cp>Scott performs on \u003cem>Burkina\u003c/em> as a guest artist. He’s developed a strong connection with the saxophonist via road encounters in Europe, where he’s often invited Howell to sit in with his band. “He’s like a Jedi master,” Scott says. “He has this ability to focus them in a way that’s really cool.’\u003c/p>\n\u003cp>Ele Howell first met Scott as a seven-year-old when his father brought him to see the trumpeter perform at Yoshi’s, and they’ve stayed in touch over the past decade. As a prodigy himself who came up in New Orleans under the wing of his uncle, saxophonist Donald Harrison, Scott knows all about the invaluable role a mentor can play with an exceptional young musician.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Howell2-450x600.jpg\" alt=\"Howell2\" width=\"450\" height=\"600\" class=\"alignright size-medium wp-image-11241138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Howell2-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Howell2-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Howell2.jpg 768w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Ele is going to be one of this next generation’s great young players,” Scott says. “Even as a little boy he was keenly aware of what was going on musically. It’s not just his prowess as a young drummer. His mind is the resource. He’s a really brilliant man, and a really good kid.”\u003c/p>\n\u003cp>The Los Angeles-reared Howell spent his formative years in the orbit of Earth, Wind & Fire and paid dues touring with R&B greats Etta James and Chaka Khan. He made his Bay Area jazz debut in the heaviest of company: joining trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins for a three-night run at the Great American Music Hall in the early 1980s. He laces traces of all of those experiences throughout Sudden Changes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He can bring a lot of different genres into play, and he’s got so much soul,” says Sudden Changes bassist Heshima Mark Williams, a San Francisco native who’s toured and recorded with Bobby Hutcherson and Julian Priester. “People some times perceive jazz as being clinical. You look down and your foot isn’t moving. That isn’t going to happen when you hear Richard. You’re going to feel him.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FiK7s_0tGsg\u003c/p>\n\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\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/FiK7s_0tGsg'\n title='//www.youtube.com/embed/FiK7s_0tGsg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Are you tired of reading about, listening to, and \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\">having feelings around David Bowie\u003c/a> yet? No? Me neither.\u003c/p>\n\u003cp>Apparently neither is Mike Deni, aka the brains and vocal chords behind San Francisco indie-rock darlings Geographer. In a simple, touching video posted on YouTube yesterday, Deni offered his own solo interpretation of Bowie's \"Heroes.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Qvvs8zWdl8\u003c/p>\n\u003cp>\"I had this recording of one of the best songs ever made, David Bowie's 'Heroes,'\" he wrote on the\u003ca href=\"https://www.facebook.com/Geographerfan/posts/10153823651268349\" target=\"_blank\"> band's Facebook page\u003c/a>, in a post accompanying the video. \"His vocal performance on that song is one of the best of his career, and one of the most powerful vocals on a pop song I've ever heard. He was an amazing man. And an incredible artist. The confidence it must have taken to do the things he did, and the generosity with which he used himself as a canvas on which he painted. He changed music forever many times, and he was a brave and intrepid exp\u003cspan class=\"text_exposed_show\">lorer through art and life. David Bowie. One of the truly amazing people that's every lived.\u003c/span>\u003c/p>\n\u003cdiv class=\"text_exposed_show\">\n\u003cp>\"So this is my plaintive take on his gorgeous and impressionistic lyrics. People often overlook his lyrics as just strange, but they're so evocative and heartbreakingly beautiful. The optimism and openness of them. This is just my ping out into the universe that has reclaimed its most beloved space alien.\"\u003c/p>\n\u003cp>Check out Geographer's most recent record, the five-song \u003cem>Endless Motion\u003c/em> \u003cem>Vol. 1\u003c/em> EP, \u003ca href=\"https://rcgeographer.bandcamp.com/album/endless-motion-vol-1\" target=\"_blank\">right here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are you tired of reading about, listening to, and \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\">having feelings around David Bowie\u003c/a> yet? No? Me neither.\u003c/p>\n\u003cp>Apparently neither is Mike Deni, aka the brains and vocal chords behind San Francisco indie-rock darlings Geographer. In a simple, touching video posted on YouTube yesterday, Deni offered his own solo interpretation of Bowie's \"Heroes.\"\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/6Qvvs8zWdl8'\n title='//www.youtube.com/embed/6Qvvs8zWdl8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I had this recording of one of the best songs ever made, David Bowie's 'Heroes,'\" he wrote on the\u003ca href=\"https://www.facebook.com/Geographerfan/posts/10153823651268349\" target=\"_blank\"> band's Facebook page\u003c/a>, in a post accompanying the video. \"His vocal performance on that song is one of the best of his career, and one of the most powerful vocals on a pop song I've ever heard. He was an amazing man. And an incredible artist. The confidence it must have taken to do the things he did, and the generosity with which he used himself as a canvas on which he painted. He changed music forever many times, and he was a brave and intrepid exp\u003cspan class=\"text_exposed_show\">lorer through art and life. David Bowie. One of the truly amazing people that's every lived.\u003c/span>\u003c/p>\n\u003cdiv class=\"text_exposed_show\">\n\u003cp>\"So this is my plaintive take on his gorgeous and impressionistic lyrics. People often overlook his lyrics as just strange, but they're so evocative and heartbreakingly beautiful. The optimism and openness of them. This is just my ping out into the universe that has reclaimed its most beloved space alien.\"\u003c/p>\n\u003cp>Check out Geographer's most recent record, the five-song \u003cem>Endless Motion\u003c/em> \u003cem>Vol. 1\u003c/em> EP, \u003ca href=\"https://rcgeographer.bandcamp.com/album/endless-motion-vol-1\" target=\"_blank\">right here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It is 1997, I am 13 years old, and I have the house to myself.\u003c/p>\n\u003cp>This is a situation people relish at any age -- but when you are 13 years old and confused all the time and spend most of your days in seemingly vacuum-sealed rooms, occupying a series of plastic chairs lined up next to other plastic chairs containing other 13-year-olds who are seething with tumultuous home lives and hormones and unfortunate harbingers of facial hair, a house to yourself is a kingdom. It is possibility.\u003c/p>\n\u003cp>I already know about music as an escape hatch: I have my stereo in my room, and my mixtapes made off local alt-rock radio stations, and the East Bay punk bands in whom I have such incredibly fierce pride that I hope it helps cover for the fact that I am not actually drinking forties down by the BART tracks with safety pins on my clothes; I am home doing my homework, for now, at least.\u003c/p>\n\u003cp>If I've realized that music can be a tunnel out, though, I am still learning its dimensions -- how far back this goes, how far off it can take you, how long other people have known about this -- and I am doing that by going through my parents' records. They are vaguely alphabetized. Joe Jackson, Janis Joplin, The Kinks, Carole King.\u003c/p>\n\u003cp>My first real encounter with David Bowie is this: I take \u003cem>Hunky Dory \u003c/em>off\u003cem> \u003c/em>the shelf, consider its weathered exterior, pull the record from its sleeve, and place it on the turntable. Then I sit cross-legged on the couch -- between the two speakers, enveloped by sound -- and listen with what feels like every pore on my body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dgQHZjAafo4\u003c/p>\n\u003cp>I am now in my thirties, and I have known for some time now, while also knowing this is a fantastically unreasonable standard, that all I want from music -- from any art, really -- is for it to make me feel the way I felt the first time I heard the first chorus of \"Oh! You Pretty Things.\" The overwhelming, visceral thrill of it: the moment the strings and bass knock your feet out from under you, the seconds-long swoop of going upside down on a rollercoaster -- and when the chorus is over, the awareness that your ear is straining for it to come around again, but also that the anticipation is half the fun. That something with no measurable or useful effect on your body has seemingly rewired your brain to make you crave it; that you are now a junkie; that because of sounds recorded in 1971, you just went \u003cem>somewhere else entirely\u003c/em> while sitting in your parents' living room in 1997. The slow realization that music maybe isn't a secret escape hatch, but rather a vast entry portal hiding in plain sight, and what's on the other side is maybe much, much bigger than you ever imagined.\u003c/p>\n\u003cp>Look, I know that writing about a David Bowie memory right now is self-indulgent. It feels gross, and it feels like not enough, and it would feel that way if I spent the next five years writing it, which I could very easily do. There's no way around this inadequacy: I could choose to put on my objective critic's hat and focus on how forward-thinking he always was; how tremendously gratifying it is that mainstream pop music was ever this deeply queer and challenging, and offer a hope that we ever get there again. I could say David Bowie's work is what all art should strive to be: a mirror, a warm blanket, a firepoker. And that even his death -- his just-released record, a final act of \u003ca href=\"https://www.youtube.com/watch?v=kszLwBaC4Sw\" target=\"_blank\">perfectly timed theater\u003c/a>, so Bowie-esque you want to punch the guy -- should serve as an inspiration.\u003c/p>\n\u003cp>I could declare, correctly, that because I'm a heterosexual white girl he meant different things to me than he did to other people, people who saw themselves reflected in him for the first time, in real and irreplaceable ways. But I might also venture that one constant throughout his chameleon-like career was a sense of inclusivity alongside the playfulness, and the result was that once you let him in, his music had a mainline straight to your emotional gut no matter who you were; David Bowie would likely not care for the idea of posthumous ownership Olympics.\u003c/p>\n\u003cfigure id=\"attachment_19826\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19826\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg\" alt=\"David Bowie performing in Hartford, Conn., in 1995. \" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie performing in Hartford, Conn., in 1995. \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which is to say, there are a lot of pieces containing a lot of people's Bowie memories on the internet today, and none of them are going to be enough, and I want to suggest that that's okay, because the truth is we don't know how else to say thank you. We do know how to say \"This is what he meant\u003cem> to me.\u003c/em>\" And because he contained multitudes, it'd be odd if that outpouring were anything but prismatic.\u003c/p>\n\u003cp>So rather than clamor for one true legacy or final word on the man, I'd offer a step back and, if you can muster it, a tamping down of the inevitable cynicism about the way we process celebrity deaths via social media in 2016. I'm going to aim, at least, in scrolling through an endless feed of search engine-optimized rock star death #content and music videos and entire articles crafted around tweets, for a sober 13-year-old's sense of awe -- at David Bowie's art, at his humanity, and at the fact that it's possible for this one weird, beautiful human to have changed so many other humans in so many weird, beautiful ways.\u003c/p>\n\u003cp>We don't run into the streets so much anymore, as a society. We don't pound on neighbors' doors to spread the news. We're all sitting on different couches right now, behind separate computers, in separate orbits, with entirely different interpretations of what it is we've just lost. What we can do, together, is find ourselves some good speakers and hit \"play.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YQTENuQYgjM\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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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/dgQHZjAafo4'\n title='//www.youtube.com/embed/dgQHZjAafo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I am now in my thirties, and I have known for some time now, while also knowing this is a fantastically unreasonable standard, that all I want from music -- from any art, really -- is for it to make me feel the way I felt the first time I heard the first chorus of \"Oh! 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It feels gross, and it feels like not enough, and it would feel that way if I spent the next five years writing it, which I could very easily do. There's no way around this inadequacy: I could choose to put on my objective critic's hat and focus on how forward-thinking he always was; how tremendously gratifying it is that mainstream pop music was ever this deeply queer and challenging, and offer a hope that we ever get there again. I could say David Bowie's work is what all art should strive to be: a mirror, a warm blanket, a firepoker. And that even his death -- his just-released record, a final act of \u003ca href=\"https://www.youtube.com/watch?v=kszLwBaC4Sw\" target=\"_blank\">perfectly timed theater\u003c/a>, so Bowie-esque you want to punch the guy -- should serve as an inspiration.\u003c/p>\n\u003cp>I could declare, correctly, that because I'm a heterosexual white girl he meant different things to me than he did to other people, people who saw themselves reflected in him for the first time, in real and irreplaceable ways. But I might also venture that one constant throughout his chameleon-like career was a sense of inclusivity alongside the playfulness, and the result was that once you let him in, his music had a mainline straight to your emotional gut no matter who you were; David Bowie would likely not care for the idea of posthumous ownership Olympics.\u003c/p>\n\u003cfigure id=\"attachment_19826\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19826\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg\" alt=\"David Bowie performing in Hartford, Conn., in 1995. \" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie performing in Hartford, Conn., in 1995. \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which is to say, there are a lot of pieces containing a lot of people's Bowie memories on the internet today, and none of them are going to be enough, and I want to suggest that that's okay, because the truth is we don't know how else to say thank you. 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"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. ",
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"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.",
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"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>",
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"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?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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