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"content": "\u003cp>The full lineup for Napa’s Bottlerock Music Festival has been announced, including headliners Stevie Wonder, the Red Hot Chili Peppers, and Florence and the Machine. Lenny Kravitz, the Lumineers and Death Cab for Cutie fill out the second tier in the lineup, with a mix of festival favorites and smaller acts rounding out the three-day festival running May 27-29. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg\" alt=\"BRNV.lineup\" width=\"1182\" height=\"730\" class=\"aligncenter size-full wp-image-11222005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-1180x729.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-960x593.jpg 960w\" sizes=\"(max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>Tickets for the festival, held at the Napa Valley Expo, go on sale Jan. 7. For more info., see \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock’s site\u003c/a>.\u003c/p>\n\u003cp>Read our review of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">last year’s Bottlerock festival here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The full lineup for Napa’s Bottlerock Music Festival has been announced, including headliners Stevie Wonder, the Red Hot Chili Peppers, and Florence and the Machine. Lenny Kravitz, the Lumineers and Death Cab for Cutie fill out the second tier in the lineup, with a mix of festival favorites and smaller acts rounding out the three-day festival running May 27-29. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg\" alt=\"BRNV.lineup\" width=\"1182\" height=\"730\" class=\"aligncenter size-full wp-image-11222005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-1180x729.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BRNV.lineup-960x593.jpg 960w\" sizes=\"(max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>Tickets for the festival, held at the Napa Valley Expo, go on sale Jan. 7. For more info., see \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock’s site\u003c/a>.\u003c/p>\n\u003cp>Read our review of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">last year’s Bottlerock festival here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Paul Bley, the jazz pianist whose recordings in the 1960s and 1970s helped redefine lyricism in jazz, has died. He was 83.\u003c/p>\n\u003cp>Born in Montreal, Bley in his early career played with Charlie Parker and recorded with Charles Mingus and Jimmy Giuffre. His early solo recordings for ESP-Disk Records introduced an understated tenderness to the anarchic music prevalent on the free-jazz label; he would later move to ECM and, with the 1973 release of \u003cem>Open, To Love\u003c/em>, usher in what came to be called “the ECM sound.” Bley’s performances of compositions by former wife Carla Bley and colleague Annette Peacock also introduced two female composers into the jazz repertoire; a rarity in the era. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EYnrtXiA0TA\u003c/p>\n\u003cp>Bley continued to record and tour internationally, and in 2009 he released an autobiography, \u003cem>Stopping Time: Paul Bley and the Transformation of Jazz\u003c/em>.\u003c/p>\n\u003cp>Bley’s family released a statement, as follows:\u003c/p>\n\u003cblockquote>\u003cp>Paul Bley, renowned jazz pianist, died January 3, 2016 at home with his family. Born November 10, 1932 in Montreal, QC, he began music studies at the age of five. At 13, he formed the “Buzzy Bley Band.” At 17, he took over for Oscar Peterson at the Alberta Lounge, invited Charlie Parker to play at the Montreal Jazz Workshop, which he co-founded, made a film with Stan Kenton and then headed to NYC to attend Julliard.\u003c/p>\n\u003cp>His international career has spanned seven decades. He’s played and recorded with Lester Young, Ben Webster, Sonny Rollins, Charles Mingus, Chet Baker, Jimmy Giuffre, Charlie Haden, Paul Motian, Lee Konitz, Pat Metheny, Jaco Pastorious and many others. He is considered a master of the trio, but as exemplified by his solo piano albums, Paul Bley is preeminently a pianists’ pianist.\u003c/p>\n\u003cp>He is survived by his wife of forty three years, Carol Goss, their daughters, Vanessa Bley and Angelica Palmer, grandchildren Felix and Zoletta Palmer, as well as daughter, Solo Peacock. Private memorial services will be held in Stuart, FL, Cherry Valley, NY and wherever you play a Paul Bley record. \u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=bO8SET56s0Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL010116.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=cm7YF3gxZy4\u003c/p>\n\u003cp>\u003cstrong>Jan. 5 & 6: \u003c/strong>\u003ca href=\"http://www.thestylistics.org/1.html\" target=\"_blank\" rel=\"noopener\">The Stylistics \u003c/a>personified the ultra-smooth sound of Philly soul in the early 1970s, with tight harmonies floating over big, big string sections. The lyrics weren’t deep: “Betcha by Golly, Wow,” and “I’m Stone in Love with You” are good examples of their lyrical laziness, but the band scored 12 consecutive R&B top ten hits with that formula. And they continue to sing about breaking up to make up as Airrion Love and Herb Murrell, two members of the original band, still tour with the group. Details for their show at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>in Oakland \u003ca href=\"http://www.yoshis.com/event/952245-stylistics-oakland/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11206944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11206944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg\" alt=\"Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-960x630.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200 \u003ccite>(Credit: National Anthropological Archives, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16 – May 9:\u003c/strong> \u003cem>\u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">Red Horse: Drawings of the Battle of the Little Bighorn\u003c/a>\u003c/em>. Red Horse was a Minneconjou Lakota Sioux warrior who fought alongside Crazy Horse and Sitting Bull at the Battle of the Little Big Horn, where a force of Sioux, Cheyenne, and Arapahoe Indians wiped out five companies of the US 7th Cavalry under the command of General George Armstrong Custer. Red Horse made these 12 drawings of the battle as a commission for Army doctor Charles E. McChesney at the Cheyenne River Agency in 1881. Their \u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">exhibition at Stanford’s Cantor Art Center\u003c/a> is the first time they’ve been displayed together since the battle’s 100th anniversary in 1976. \u003cstrong>And that’s our CHEAP THRILL this week\u003c/strong> as admission to the Cantor is free.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zX1MwaHP-CQ\u003c/p>\n\u003cp>\u003cstrong>Jan 7 – 10: \u003c/strong>Eric Harland is a musical adventurer, exploring different modes diverse bands, including \u003ca href=\"http://www.jamesfarmmusic.com/\" target=\"_blank\" rel=\"noopener\">James Farm\u003c/a> and the \u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>\u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\"> Quartet\u003c/a>. Now he’s exploring four exciting aspects of modern jazz with new guests over four nights. First he delves into South Carolina gospel and funk with \u003ca href=\"http://www.leefieldsandtheexpressions.com/\" target=\"_blank\" rel=\"noopener\">Lee Fields\u003c/a>, then afrobeat with \u003ca href=\"http://www.antibalas.com/\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, the music of Gil Scott Heron with \u003ca href=\"http://brianjackson.net/\" target=\"_blank\" rel=\"noopener\">Brian Jackson\u003c/a>, and then he ends the run accompanying a spoken word performance by Oakland’s own\u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\"> Ishmael Reed\u003c/a>. Details\u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4gK1yo1-Aug\u003c/p>\n\u003cp>\u003cstrong>Jan 7 – 24: \u003c/strong>\u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a> is back for its fifteenth year, gathering some of the funniest comic actors, writers, and podcast makers in San Francisco and environs for more than three weeks. David and I are excited about \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">\u003cem>Drunk History\u003c/em>\u003c/a> (just like it sounds), tributes to Sally Field, Patton Oswalt, and Jeff Goldblum, plus a panel featuring NPR’s \u003cem>Ask Me Another\u003c/em>, and a performance by Princess, Maya Rudolph and Gretchen Lieberum’s Prince cover band. And don’t miss writer/producer Alan Spencer and actor David Rasche, celebrating the 30th anniversary of ABC’s short-lived \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0090525/\" target=\"_blank\" rel=\"noopener\">Sledge Hammer\u003c/a>\u003c/em>, which spoofed Clint Eastwood’s Dirty Harry character with a maniacal cop who talks to his gun.\u003c/p>\n\u003cfigure id=\"attachment_11203914\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11203914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/John-Douglas-Thompson.jpg\" alt=\"John Douglas Thompson\" width=\"350\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">John Douglas Thompson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13-Feb. 7 \u003c/strong>: \u003cem>Satchmo at the Waldorf \u003c/em>: Louis Armstrong may be best remembered now for his pop hits and movie appearances (Hello Dolly and High Society), but he was pioneer in jazz, developing the idea of the individual solo. \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html?gclid=CPTg2dj5gcoCFcVffgodMakEGw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">\u003cem>Satchmo at the Waldorf \u003c/em>\u003c/a>at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> is by Terry Teachout, the Wall Street Journal’s drama critic, who also wrote a \u003ca href=\"http://www.amazon.com/Pops-A-Life-Louis-Armstrong/dp/0547386370\" target=\"_blank\" rel=\"noopener\">biography \u003c/a>of Armstrong. Obie winner \u003ca href=\"http://www.nytimes.com/video/theater/100000002798506/in-performance-john-douglas-thompson.html\" target=\"_blank\" rel=\"noopener\">John Douglas Thompson \u003c/a>stars, and we learn a lot about race, Armstrong’s mob-connected agent Joe Glaser, and Satchmo’s relation with his polar opposite, Miles Davis, his successor as the world’s greatest jazz trumpeter. Should be an entertaining slice of American history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0of1Z-Db7iw\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 5\u003c/strong>: \u003ca href=\"http://thenationalparksmusic.com/\" target=\"_blank\" rel=\"noopener\">The National Parks \u003c/a>are still so fresh they don’t have a Wikipedia page yet. But this 7-member, Provo, Utah-based band sounds great on songs ranging from folk to indie-rock on their two CD’s. Vocalists Sydney McFarlane and Brady Park sing beautifully together, and they write smart lyrics like this one: “Do you ever think about the stars? / To see them clear, you have to step into the dark.” Catch them before they hit big at the \u003ca href=\"http://www.hotelutah.com/event/988215-national-parks-brumby-wild-san-francisco/\" target=\"_blank\" rel=\"noopener\">Hotel Utah.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/cm7YF3gxZy4'\n title='//www.youtube.com/embed/cm7YF3gxZy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 5 & 6: \u003c/strong>\u003ca href=\"http://www.thestylistics.org/1.html\" target=\"_blank\" rel=\"noopener\">The Stylistics \u003c/a>personified the ultra-smooth sound of Philly soul in the early 1970s, with tight harmonies floating over big, big string sections. The lyrics weren’t deep: “Betcha by Golly, Wow,” and “I’m Stone in Love with You” are good examples of their lyrical laziness, but the band scored 12 consecutive R&B top ten hits with that formula. And they continue to sing about breaking up to make up as Airrion Love and Herb Murrell, two members of the original band, still tour with the group. Details for their show at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>in Oakland \u003ca href=\"http://www.yoshis.com/event/952245-stylistics-oakland/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11206944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11206944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg\" alt=\"Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-960x630.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200 \u003ccite>(Credit: National Anthropological Archives, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16 – May 9:\u003c/strong> \u003cem>\u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">Red Horse: Drawings of the Battle of the Little Bighorn\u003c/a>\u003c/em>. Red Horse was a Minneconjou Lakota Sioux warrior who fought alongside Crazy Horse and Sitting Bull at the Battle of the Little Big Horn, where a force of Sioux, Cheyenne, and Arapahoe Indians wiped out five companies of the US 7th Cavalry under the command of General George Armstrong Custer. Red Horse made these 12 drawings of the battle as a commission for Army doctor Charles E. McChesney at the Cheyenne River Agency in 1881. Their \u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">exhibition at Stanford’s Cantor Art Center\u003c/a> is the first time they’ve been displayed together since the battle’s 100th anniversary in 1976. \u003cstrong>And that’s our CHEAP THRILL this week\u003c/strong> as admission to the Cantor is free.\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/zX1MwaHP-CQ'\n title='//www.youtube.com/embed/zX1MwaHP-CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 7 – 10: \u003c/strong>Eric Harland is a musical adventurer, exploring different modes diverse bands, including \u003ca href=\"http://www.jamesfarmmusic.com/\" target=\"_blank\" rel=\"noopener\">James Farm\u003c/a> and the \u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>\u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\"> Quartet\u003c/a>. Now he’s exploring four exciting aspects of modern jazz with new guests over four nights. First he delves into South Carolina gospel and funk with \u003ca href=\"http://www.leefieldsandtheexpressions.com/\" target=\"_blank\" rel=\"noopener\">Lee Fields\u003c/a>, then afrobeat with \u003ca href=\"http://www.antibalas.com/\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, the music of Gil Scott Heron with \u003ca href=\"http://brianjackson.net/\" target=\"_blank\" rel=\"noopener\">Brian Jackson\u003c/a>, and then he ends the run accompanying a spoken word performance by Oakland’s own\u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\"> Ishmael Reed\u003c/a>. Details\u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4gK1yo1-Aug'\n title='//www.youtube.com/embed/4gK1yo1-Aug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 7 – 24: \u003c/strong>\u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a> is back for its fifteenth year, gathering some of the funniest comic actors, writers, and podcast makers in San Francisco and environs for more than three weeks. David and I are excited about \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">\u003cem>Drunk History\u003c/em>\u003c/a> (just like it sounds), tributes to Sally Field, Patton Oswalt, and Jeff Goldblum, plus a panel featuring NPR’s \u003cem>Ask Me Another\u003c/em>, and a performance by Princess, Maya Rudolph and Gretchen Lieberum’s Prince cover band. And don’t miss writer/producer Alan Spencer and actor David Rasche, celebrating the 30th anniversary of ABC’s short-lived \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0090525/\" target=\"_blank\" rel=\"noopener\">Sledge Hammer\u003c/a>\u003c/em>, which spoofed Clint Eastwood’s Dirty Harry character with a maniacal cop who talks to his gun.\u003c/p>\n\u003cfigure id=\"attachment_11203914\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11203914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/John-Douglas-Thompson.jpg\" alt=\"John Douglas Thompson\" width=\"350\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">John Douglas Thompson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13-Feb. 7 \u003c/strong>: \u003cem>Satchmo at the Waldorf \u003c/em>: Louis Armstrong may be best remembered now for his pop hits and movie appearances (Hello Dolly and High Society), but he was pioneer in jazz, developing the idea of the individual solo. \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html?gclid=CPTg2dj5gcoCFcVffgodMakEGw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">\u003cem>Satchmo at the Waldorf \u003c/em>\u003c/a>at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> is by Terry Teachout, the Wall Street Journal’s drama critic, who also wrote a \u003ca href=\"http://www.amazon.com/Pops-A-Life-Louis-Armstrong/dp/0547386370\" target=\"_blank\" rel=\"noopener\">biography \u003c/a>of Armstrong. Obie winner \u003ca href=\"http://www.nytimes.com/video/theater/100000002798506/in-performance-john-douglas-thompson.html\" target=\"_blank\" rel=\"noopener\">John Douglas Thompson \u003c/a>stars, and we learn a lot about race, Armstrong’s mob-connected agent Joe Glaser, and Satchmo’s relation with his polar opposite, Miles Davis, his successor as the world’s greatest jazz trumpeter. Should be an entertaining slice of American history.\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/0of1Z-Db7iw'\n title='//www.youtube.com/embed/0of1Z-Db7iw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 5\u003c/strong>: \u003ca href=\"http://thenationalparksmusic.com/\" target=\"_blank\" rel=\"noopener\">The National Parks \u003c/a>are still so fresh they don’t have a Wikipedia page yet. But this 7-member, Provo, Utah-based band sounds great on songs ranging from folk to indie-rock on their two CD’s. Vocalists Sydney McFarlane and Brady Park sing beautifully together, and they write smart lyrics like this one: “Do you ever think about the stars? / To see them clear, you have to step into the dark.” Catch them before they hit big at the \u003ca href=\"http://www.hotelutah.com/event/988215-national-parks-brumby-wild-san-francisco/\" target=\"_blank\" rel=\"noopener\">Hotel Utah.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking for a Miracle: Modern-Day Deadheads in San Francisco",
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"content": "\u003cp>When Don Henley sang about seeing a Deadhead sticker on a Cadillac in his 1984 hit “The Boys of Summer,” it signaled the very real shifting demographic of former Grateful Dead fans. Today, that’s especially true in the Bay Area, where Lexus-driving Marinites and Silicon Valley millionaires alike claim the band as inspiration.\u003c/p>\n\u003cp>And yet the band’s idealistic, nomadic base endures. In a two-night stand billed as “Dead & Company” at the Bill Graham Civic Auditorium, KQED Arts talked with \u003ca href=\"http://tiny.cc/dead\" target=\"_blank\" rel=\"noopener\">diehard fans\u003c/a> who gathered before the show — some looking for the elusive “miracle ticket,” some sending good things out into the universe in hopes for karmic return, and all still believing in the core spirit of community and love.\u003c/p>\n\u003cp>The year 2015 marked the 50th Anniversary for the band, which helped define the Haight-Ashbury era of San Francisco with its \u003ca href=\"http://i.imgur.com/BtttYdg.jpg\" target=\"_blank\" rel=\"noopener\">free street concerts\u003c/a> and notorious \u003ca href=\"https://en.wikipedia.org/wiki/Acid_Tests\" target=\"_blank\" rel=\"noopener\">acid tests\u003c/a>. Pioneers of both concert audio and live taping, the Dead were also the first major jam band, attracting throngs of traveling fans for whom the parking lot scene outside concerts was sometimes just as important as the music itself.\u003c/p>\n\u003cp>Clearly, that scene remains active. After the band’s much-publicized 50th Anniversary “Fare Thee Well” concerts in the summertime of 2015, a truncated version of the band, titled Dead & Company, announced shows on both the East and West Coast. At the Civic Center in San Francisco, telltale fingers held in the air indicated those fans seeking a free ticket and often receiving one — something near-unfathomable in the profitable new scalping economy, but a holdover from another time, another mindset, even, that still survives. — \u003cem>Gabe \u003c/em>\u003ci>Meline\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "While the Grateful Dead in 2015 may sometimes seem to belong to Lexus-driving millionaires, KQED Arts caught up with the Deadhead crowd outside a recent concert and found an idealistic, not-so-affluent, nomadic fan base that still believes in miracles. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Don Henley sang about seeing a Deadhead sticker on a Cadillac in his 1984 hit “The Boys of Summer,” it signaled the very real shifting demographic of former Grateful Dead fans. Today, that’s especially true in the Bay Area, where Lexus-driving Marinites and Silicon Valley millionaires alike claim the band as inspiration.\u003c/p>\n\u003cp>And yet the band’s idealistic, nomadic base endures. In a two-night stand billed as “Dead & Company” at the Bill Graham Civic Auditorium, KQED Arts talked with \u003ca href=\"http://tiny.cc/dead\" target=\"_blank\" rel=\"noopener\">diehard fans\u003c/a> who gathered before the show — some looking for the elusive “miracle ticket,” some sending good things out into the universe in hopes for karmic return, and all still believing in the core spirit of community and love.\u003c/p>\n\u003cp>The year 2015 marked the 50th Anniversary for the band, which helped define the Haight-Ashbury era of San Francisco with its \u003ca href=\"http://i.imgur.com/BtttYdg.jpg\" target=\"_blank\" rel=\"noopener\">free street concerts\u003c/a> and notorious \u003ca href=\"https://en.wikipedia.org/wiki/Acid_Tests\" target=\"_blank\" rel=\"noopener\">acid tests\u003c/a>. Pioneers of both concert audio and live taping, the Dead were also the first major jam band, attracting throngs of traveling fans for whom the parking lot scene outside concerts was sometimes just as important as the music itself.\u003c/p>\n\u003cp>Clearly, that scene remains active. After the band’s much-publicized 50th Anniversary “Fare Thee Well” concerts in the summertime of 2015, a truncated version of the band, titled Dead & Company, announced shows on both the East and West Coast. At the Civic Center in San Francisco, telltale fingers held in the air indicated those fans seeking a free ticket and often receiving one — something near-unfathomable in the profitable new scalping economy, but a holdover from another time, another mindset, even, that still survives. — \u003cem>Gabe \u003c/em>\u003ci>Meline\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you’ve scoured around for things to do this New Year’s Eve, you may have noticed a pattern:\u003c/p>\n\u003cp>DJs\u003cbr>\nFree kids’ stuff during the day\u003cbr>\nMore DJs\u003cbr>\nDJs\u003cbr>\nExpensive DJs\u003cbr>\nDJs\u003c/p>\n\u003cp>And in a way: \u003cem>as it should be\u003c/em>. DJs playing Top 40 hits in a crowded room with confetti and champagne and ill-fitting dresses appeal to the sort of partygoers who still make New Year’s Eve a thing. But what’s a live music fan to do, especially when many of the big shows are already sold out? Never fear: we’ve got a last-minute, hand-picked guide to live music on New Year’s Eve for all you procrastinators out there.\u003c/p>\n\u003cfigure id=\"attachment_11207183\" class=\"wp-caption alignright\" style=\"max-width: 463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11207183\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg\" alt=\"Young L.\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003cfigcaption class=\"wp-caption-text\">Young L.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wine & Bowties New Year’s Eve\u003c/strong>. Young L, Nic Nac and Alexander Spit headline this hip-hop party presented by Wine & Bowties, the crew that puts on Oakland’s \u003ca href=\"http://ww2.kqed.org/arts/2015/12/15/it-aint-where-ya-from-its-where-ya-at-the-year-in-bay-area-hip-hop/\" target=\"_blank\" rel=\"noopener\">ongoing Feels parties\u003c/a>. As the engineer and main producer of the Pack, Young L has a mind for sound that comes from outer space, whereas Alexander Spit, raised in the Bay, draws inspiration from hallucinogens and his new home of Los Angeles. Part soiree, part head trip, the “intimate” evening in downtown Oakland should be a winner with tickets at $25–$30. \u003ca href=\"http://www.eventbrite.com/e/wine-bowties-nye-with-young-l-nic-nac-alexander-spit-tickets-20009876078\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Seth MacFarlane with the San Francisco Symphony at Davies Symphony Hall\u003c/strong>. Public opinion may be divided on MacFarlane since his \u003ca href=\"http://www.newyorker.com/news/amy-davidson/seth-macfarlane-and-the-oscars-hostile-ugly-sexist-night\" target=\"_blank\" rel=\"noopener\">sour turn at hosting the Oscars\u003c/a> in 2013, but the \u003cem>Family Guy\u003c/em> creator and \u003cem>Ted\u003c/em> writer-director is, in a way, the perfect host for an evening of Broadway and jazz standards on New Year’s Eve: capable with a song, and a little ribald around the edges. Remaining tickets are $115-$230; \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/New-Years-with-Seth-MacFarlane\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Shannon & the Clams, Sonny & the Sunsets at the Great American Music Hall\u003c/strong>. A garage-rock pairing made in heaven — or, at least, in the pre-“Mid-Market” era. Shannon & the Clams’ \u003cem>Gone By The Dawn\u003c/em>, packed with Ronettes-style melodies and odes to Cadillacs, was released in the fall, while Sonny Smith brings a brand-new six-song EP called \u003cem>Sees All Knows All\u003c/em> to this record-release show. Tickets are $40; \u003ca href=\"http://www.eventbrite.com/e/shannon-and-the-clams-sonny-and-the-sunsets-gamh-w-dirty-denim-tickets-18962296740\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207065\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207065\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Decemberists.jpg\" alt=\"The Decemberists.\" width=\"600\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists-400x243.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Decemberists.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Decemberists at the Masonic\u003c/strong>. From their breakout set as a \u003ca href=\"http://www.wnd.com/2008/05/65510/\" target=\"_blank\" rel=\"noopener\">“Communist band” opening for President Obama\u003c/a> to this year’s sleeper hit “Why Would I Now?” (\u003ca href=\"https://www.youtube.com/watch?v=UuexG3wyVjc\" target=\"_blank\" rel=\"noopener\">it’s damn good\u003c/a>), the Portland band known for its old-world style and way with words rings in the new atop Nob Hill. Local openers Thao and the Get Down Stay Down make the show all the more attractive. Tickets are $60–$95; \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Lil B at the Regency Ballroom\u003c/strong>. There are many reasons to love Lil B, 10 of which we \u003ca href=\"http://ww2.kqed.org/arts/2014/12/17/thank-you-based-god-10-reasons-why-you-should-see-lil-b-this-weekend/\" target=\"_blank\" rel=\"noopener\">enumerated last year\u003c/a>. But this year’s seemingly annual local December show promises more than just the Berkeley rapper and his anthems to wonton soup and Ellen Degeneres: Kreayshawn, Kool John, Stunnaman of the Pack and more make appearances as well. In a year where Lil B and \u003ca href=\"http://www.complex.com/sports/2015/10/lil-b-james-harden-curse\" target=\"_blank\" rel=\"noopener\">his infamous curse\u003c/a> dominated the NBA finals, and in a year where his song “No Black Person is Ugly” still resonates, the Based God should bring the goods. Tickets are $55-$60; \u003ca href=\"http://www.axs.com/events/295140/lil-b-friends-tickets\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Flying Lotus, Clams Casino, Thundercat at 1015 Folsom\u003c/strong>. As the grand-nephew of Alice Coltrane and a man often surrounded by \u003ca href=\"http://www.newyorker.com/wp-content/uploads/2008/12/081201_r17997_p646-320.jpg\" target=\"_blank\" rel=\"noopener\">beatmaking software and medical marijuana\u003c/a>, Flying Lotus bridges the worlds of jazz and electronic music for a heady style of party. Labelmate Thundercat, bassist and key contributor to Kendrick Lamar’s list-topping album \u003cem>To Pimp a Butterfly\u003c/em>, supports, with underdog hip-hop producer Clams Casino rounding out the bill. Tickets are $100–$120; \u003ca href=\"http://1015.com/events/12-31-2015/nye-2016/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg\" alt=\"Jody Watley.\" width=\"640\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley-400x251.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jody Watley.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jody Watley and Shalamar at Yoshi’s\u003c/strong>. Watley was so ubiquitous on late-’80s radio that it’s easy to forget her early work with Shalamar, the group assembled by Don Cornelius of Soul Train. In the pairing of Watley with a revamped Shalamar, crowds get Watley’s solo hits — “Looking for a New Love,” “Real Love,” “Everything” — along with early hits from her former group. Tickets are $69-$99 for the 8pm show; $99 for 11pm. \u003ca href=\"http://www.yoshis.com/event/974355-jody-watley-shalamar-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Flaming Lips at the Bill Graham Civic Auditorium\u003c/strong>. The Grateful Dead’s New Year’s Eve shows used to be legendary, with Bill Graham himself serving as “Father Time” at midnight. So it’s a little funny that “Dead & Company,” the group with three remaining members of the Dead, hightailed it out of town after their three-night stand at the hall now named for Graham to celebrate NYE in Los Angeles. In their place are the cultural ancestors of the Grateful Dead: the Flaming Lips, hot off their license-to-be-even-more-weird collaboration with Miley Cyrus, who have seemingly started their own tradition of playing New Years’ Eve in San Francisco. Geographer, Tycho, Ratatat & many more round out the night, with multiple rooms at the Civic being employed for use; tickets are $95. \u003ca href=\"http://thebigonesf.com/?utm_source=Partner&utm_medium=APE\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby at Cafe Stritch\u003c/strong>. Shelby’s a favorite around here, for many reasons — and his social work about the school-to-prison pipeline is the one that may have \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-anna-deavere-smith-20150726-column.html\" target=\"_blank\" rel=\"noopener\">garnered the most headlines\u003c/a> in 2015. But between his collaborations with Anna Deveare Smith and his own political composition, it’s easy to forget that Shelby simply \u003cem>swings\u003c/em>. At Cafe Stritch, he’s with his quintet and guest Miss Faye Carol for a relatively reasonable $20. \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207064\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg\" alt=\"Mayer Hawthorne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mayer Hawthorne.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Mayer Hawthorne at the Independent\u003c/strong>. Mayer Hawthorne’s records don’t really do him justice — live and on stage, the blue-eyed soul singer has perfected the art of working the stage and playing to the crowd. His show at the Independent seems steep — $135 — until you read the fine print. Yep: \u003cem>open bar included with admission\u003c/em>. Drink up and get down, San Francisco. \u003ca href=\"http://www.apeconcerts.com/event/1010023-mayer-hawthorne-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve at the Petaluma Historical Library & Museum\u003c/strong>. Not to stereotype, but classical music fans are generally not the type to stay up until midnight just to drink bubbly from a shoe. Which makes this annual event in the former Petaluma Carnegie library so attractive: attendees get in at 7pm, listen to Mozart, Beethoven and Schubert as played by members of the San Francisco Symphony, and get out by 9pm. Home and in bed before Ryan Seacrest can even think about starting the countdown in Times Square. \u003ca href=\"http://www.petalumamuseum.com/concerts/#eve\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Afrolicious at the Rickshaw Stop\u003c/strong>. The Bay Area’s premier afrobeat band and a small, sweaty dancefloor. What more could one want? Tickets $40; \u003ca href=\"https://www.ticketfly.com/purchase/event/982779?_ga=1.225996819.825841637.1448503749&__utma=1.1434865182.1448503749.1449557410.1450079586.4&__utmb=1.2.10.1450079586&__utmc=1&__utmx=-&__utmz=1.1448503749.1.1.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=201191470\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve scoured around for things to do this New Year’s Eve, you may have noticed a pattern:\u003c/p>\n\u003cp>DJs\u003cbr>\nFree kids’ stuff during the day\u003cbr>\nMore DJs\u003cbr>\nDJs\u003cbr>\nExpensive DJs\u003cbr>\nDJs\u003c/p>\n\u003cp>And in a way: \u003cem>as it should be\u003c/em>. DJs playing Top 40 hits in a crowded room with confetti and champagne and ill-fitting dresses appeal to the sort of partygoers who still make New Year’s Eve a thing. But what’s a live music fan to do, especially when many of the big shows are already sold out? Never fear: we’ve got a last-minute, hand-picked guide to live music on New Year’s Eve for all you procrastinators out there.\u003c/p>\n\u003cfigure id=\"attachment_11207183\" class=\"wp-caption alignright\" style=\"max-width: 463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11207183\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg\" alt=\"Young L.\" width=\"463\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/YoungL.jpg 556w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003cfigcaption class=\"wp-caption-text\">Young L.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wine & Bowties New Year’s Eve\u003c/strong>. Young L, Nic Nac and Alexander Spit headline this hip-hop party presented by Wine & Bowties, the crew that puts on Oakland’s \u003ca href=\"http://ww2.kqed.org/arts/2015/12/15/it-aint-where-ya-from-its-where-ya-at-the-year-in-bay-area-hip-hop/\" target=\"_blank\" rel=\"noopener\">ongoing Feels parties\u003c/a>. As the engineer and main producer of the Pack, Young L has a mind for sound that comes from outer space, whereas Alexander Spit, raised in the Bay, draws inspiration from hallucinogens and his new home of Los Angeles. Part soiree, part head trip, the “intimate” evening in downtown Oakland should be a winner with tickets at $25–$30. \u003ca href=\"http://www.eventbrite.com/e/wine-bowties-nye-with-young-l-nic-nac-alexander-spit-tickets-20009876078\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Seth MacFarlane with the San Francisco Symphony at Davies Symphony Hall\u003c/strong>. Public opinion may be divided on MacFarlane since his \u003ca href=\"http://www.newyorker.com/news/amy-davidson/seth-macfarlane-and-the-oscars-hostile-ugly-sexist-night\" target=\"_blank\" rel=\"noopener\">sour turn at hosting the Oscars\u003c/a> in 2013, but the \u003cem>Family Guy\u003c/em> creator and \u003cem>Ted\u003c/em> writer-director is, in a way, the perfect host for an evening of Broadway and jazz standards on New Year’s Eve: capable with a song, and a little ribald around the edges. Remaining tickets are $115-$230; \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/New-Years-with-Seth-MacFarlane\" 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>Shannon & the Clams, Sonny & the Sunsets at the Great American Music Hall\u003c/strong>. A garage-rock pairing made in heaven — or, at least, in the pre-“Mid-Market” era. Shannon & the Clams’ \u003cem>Gone By The Dawn\u003c/em>, packed with Ronettes-style melodies and odes to Cadillacs, was released in the fall, while Sonny Smith brings a brand-new six-song EP called \u003cem>Sees All Knows All\u003c/em> to this record-release show. Tickets are $40; \u003ca href=\"http://www.eventbrite.com/e/shannon-and-the-clams-sonny-and-the-sunsets-gamh-w-dirty-denim-tickets-18962296740\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207065\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207065\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Decemberists.jpg\" alt=\"The Decemberists.\" width=\"600\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Decemberists-400x243.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Decemberists.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Decemberists at the Masonic\u003c/strong>. From their breakout set as a \u003ca href=\"http://www.wnd.com/2008/05/65510/\" target=\"_blank\" rel=\"noopener\">“Communist band” opening for President Obama\u003c/a> to this year’s sleeper hit “Why Would I Now?” (\u003ca href=\"https://www.youtube.com/watch?v=UuexG3wyVjc\" target=\"_blank\" rel=\"noopener\">it’s damn good\u003c/a>), the Portland band known for its old-world style and way with words rings in the new atop Nob Hill. Local openers Thao and the Get Down Stay Down make the show all the more attractive. Tickets are $60–$95; \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Lil B at the Regency Ballroom\u003c/strong>. There are many reasons to love Lil B, 10 of which we \u003ca href=\"http://ww2.kqed.org/arts/2014/12/17/thank-you-based-god-10-reasons-why-you-should-see-lil-b-this-weekend/\" target=\"_blank\" rel=\"noopener\">enumerated last year\u003c/a>. But this year’s seemingly annual local December show promises more than just the Berkeley rapper and his anthems to wonton soup and Ellen Degeneres: Kreayshawn, Kool John, Stunnaman of the Pack and more make appearances as well. In a year where Lil B and \u003ca href=\"http://www.complex.com/sports/2015/10/lil-b-james-harden-curse\" target=\"_blank\" rel=\"noopener\">his infamous curse\u003c/a> dominated the NBA finals, and in a year where his song “No Black Person is Ugly” still resonates, the Based God should bring the goods. Tickets are $55-$60; \u003ca href=\"http://www.axs.com/events/295140/lil-b-friends-tickets\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Flying Lotus, Clams Casino, Thundercat at 1015 Folsom\u003c/strong>. As the grand-nephew of Alice Coltrane and a man often surrounded by \u003ca href=\"http://www.newyorker.com/wp-content/uploads/2008/12/081201_r17997_p646-320.jpg\" target=\"_blank\" rel=\"noopener\">beatmaking software and medical marijuana\u003c/a>, Flying Lotus bridges the worlds of jazz and electronic music for a heady style of party. Labelmate Thundercat, bassist and key contributor to Kendrick Lamar’s list-topping album \u003cem>To Pimp a Butterfly\u003c/em>, supports, with underdog hip-hop producer Clams Casino rounding out the bill. Tickets are $100–$120; \u003ca href=\"http://1015.com/events/12-31-2015/nye-2016/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg\" alt=\"Jody Watley.\" width=\"640\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jody-Watley-400x251.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jody Watley.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jody Watley and Shalamar at Yoshi’s\u003c/strong>. Watley was so ubiquitous on late-’80s radio that it’s easy to forget her early work with Shalamar, the group assembled by Don Cornelius of Soul Train. In the pairing of Watley with a revamped Shalamar, crowds get Watley’s solo hits — “Looking for a New Love,” “Real Love,” “Everything” — along with early hits from her former group. Tickets are $69-$99 for the 8pm show; $99 for 11pm. \u003ca href=\"http://www.yoshis.com/event/974355-jody-watley-shalamar-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Flaming Lips at the Bill Graham Civic Auditorium\u003c/strong>. The Grateful Dead’s New Year’s Eve shows used to be legendary, with Bill Graham himself serving as “Father Time” at midnight. So it’s a little funny that “Dead & Company,” the group with three remaining members of the Dead, hightailed it out of town after their three-night stand at the hall now named for Graham to celebrate NYE in Los Angeles. In their place are the cultural ancestors of the Grateful Dead: the Flaming Lips, hot off their license-to-be-even-more-weird collaboration with Miley Cyrus, who have seemingly started their own tradition of playing New Years’ Eve in San Francisco. Geographer, Tycho, Ratatat & many more round out the night, with multiple rooms at the Civic being employed for use; tickets are $95. \u003ca href=\"http://thebigonesf.com/?utm_source=Partner&utm_medium=APE\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby at Cafe Stritch\u003c/strong>. Shelby’s a favorite around here, for many reasons — and his social work about the school-to-prison pipeline is the one that may have \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-anna-deavere-smith-20150726-column.html\" target=\"_blank\" rel=\"noopener\">garnered the most headlines\u003c/a> in 2015. But between his collaborations with Anna Deveare Smith and his own political composition, it’s easy to forget that Shelby simply \u003cem>swings\u003c/em>. At Cafe Stritch, he’s with his quintet and guest Miss Faye Carol for a relatively reasonable $20. \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11207064\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11207064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg\" alt=\"Mayer Hawthorne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MayerHawthorne-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mayer Hawthorne.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Mayer Hawthorne at the Independent\u003c/strong>. Mayer Hawthorne’s records don’t really do him justice — live and on stage, the blue-eyed soul singer has perfected the art of working the stage and playing to the crowd. His show at the Independent seems steep — $135 — until you read the fine print. Yep: \u003cem>open bar included with admission\u003c/em>. Drink up and get down, San Francisco. \u003ca href=\"http://www.apeconcerts.com/event/1010023-mayer-hawthorne-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve at the Petaluma Historical Library & Museum\u003c/strong>. Not to stereotype, but classical music fans are generally not the type to stay up until midnight just to drink bubbly from a shoe. Which makes this annual event in the former Petaluma Carnegie library so attractive: attendees get in at 7pm, listen to Mozart, Beethoven and Schubert as played by members of the San Francisco Symphony, and get out by 9pm. Home and in bed before Ryan Seacrest can even think about starting the countdown in Times Square. \u003ca href=\"http://www.petalumamuseum.com/concerts/#eve\" 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>Afrolicious at the Rickshaw Stop\u003c/strong>. The Bay Area’s premier afrobeat band and a small, sweaty dancefloor. What more could one want? Tickets $40; \u003ca href=\"https://www.ticketfly.com/purchase/event/982779?_ga=1.225996819.825841637.1448503749&__utma=1.1434865182.1448503749.1449557410.1450079586.4&__utmb=1.2.10.1450079586&__utmc=1&__utmx=-&__utmz=1.1448503749.1.1.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=201191470\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cracker Frontman Suing Spotify for Copyright Infringement",
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"content": "\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The lawsuit alleges that the streaming music service fails to properly compensate artists for the right to reproduce or distribute recordings. It's the latest in the ongoing debate over streaming.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a particular gag that gets passed around every year during the last week of December that kills me, though I’ve seen it a hundred times. It’s a flyer for a typical New Year’s Eve party — AKA overpriced, full of obnoxious drunk dudes who seem to have never learned bar etiquette and irritating, wasted girls falling over in the street because they’re wearing impractical shoes. It speaks to a few sad truths about the holiday: Nearly everyone’s trying to take someone home and/or have the best night of their lives; nearly everyone wakes up the next day staring down a new year with a champagne headache, a boatload of regrets, and many fewer dollars than they woke up with on Dec. 31.\u003c/p>\n\u003cfigure id=\"attachment_11203917\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11203917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/every_new_years_party-400x470.jpg\" alt=\"That particular joke flyer I was talking about\" width=\"400\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">I mean, they’re not wrong.\u003c/figcaption>\u003c/figure>\n\u003cp>That said, let’s get excited for New Year’s Eve!!\u003c/p>\n\u003cp>No, really. Truth be told, it is entirely possible to have a good — dare I say great — last night of 2015. It just involves being willing to go with the flow, having no expectations of it being the Most Perfect Night Ever, and (on the planet where I live, at least) minimizing New Year’s Day remorse by not spending a bajillion dollars on a prix fixe menu and “complimentary” glass of champagne.\u003c/p>\n\u003cp>Here are some $20-and-under options around the Bay that will help you do just that.\u003c/p>\n\u003cp>\u003cstrong>Hella Saucey New Year’s Eve Bash hosted by Aima the Dreamer at Elbo Room, SF. \u003c/strong>It’s been a rollercoaster of a year for this beloved Mission Dive, culminating in the happy announcement that \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">she’ll live to see 2018. \u003c/a>Celebrate with a killer lineup of local DJs, emceed by underrated hip-hop maven \u003ca href=\"https://www.facebook.com/Aima-the-Dreamer-136566167189/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/510671815776224/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Afternoon Balloon Drop Celebration at the Chabot Space & Science Center, Oakland.\u003c/strong> Having little ones doesn’t mean you have to stay home — let ’em in on the fun (and be home in time for dinner) with one of these afternoon countdowns and balloon drops, with different times for different age groups. $5; \u003ca href=\"http://www.chabotspace.org/balloon-drop.htm\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11204162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg\" alt=\"balloon-landing2\" width=\"400\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2.jpg 538w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Sw\u003c/strong>\u003cstrong>eater Funk NYE Boogie Bash at the Knockout, SF. \u003c/strong>Live performances from PLAZA and K-Maxx plus the classic Sweater Funk DJ crew. $7 – $10;\u003ca href=\"https://www.facebook.com/events/179135359104997/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gene Kelly double feature at the Castro Theater, SF. \u003c/strong>Hide from the future with the help of Gene Kelly, Frank Sinatra, and Debbie Reynolds at their finest, courtesy of \u003cem>Singin’ In the Rain\u003c/em> and \u003cem>On the Town.\u003c/em> $10; \u003ca href=\"http://castrotheatre.com/p-list.html#dec31\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w40ushYAaYA\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Fireworks, SF. \u003c/strong>Bundle up, grab a beverage for the stroll, and cross your fingers for another one of these clear, cool nights we’ve been having, as it will all help you take in this fabulous (and free!) fireworks display all along the Embarcadero. \u003ca href=\"http://sf.funcheap.com/san-francisco-new-years-eve-fireworks/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Wave’s Eve at the Nightlight, Oakland.\u003c/strong> Partying like it’s 1984 never gets old, right? The Cure, The Go-Gos, David Bowie, Joy Division, Gang of Four, Flock of Seagulls, Flock of Seagulls haircuts…you get the idea. $10; \u003ca href=\"https://www.facebook.com/events/187356208266108/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Bash with Lecherous Gaze, Pins of Light at the Hemlock Tavern, SF. \u003c/strong>Because nothing says “this is gonna be a great year” like starting it off sweaty while throwing yourself around to local punk/metal bad-asses. $12 – $15; \u003ca href=\"http://www.hemlocktavern.com/calendar/hemlock-tavern-new-years-eve-bash-with-pins-of-light-lecherous-gaze/\" target=\"_blank\" rel=\"noopener\">details here.\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday Night Soul Party at Virgil’s Sea Room, SF.\u003c/strong> Sure, NYE is on a Thursday, but why mess with a classic? Soul tunes spun all night; a Fernet-Branca toast at midnight, just to keep things interesting. $5; \u003ca href=\"https://www.facebook.com/events/810889409020352/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a particular gag that gets passed around every year during the last week of December that kills me, though I’ve seen it a hundred times. It’s a flyer for a typical New Year’s Eve party — AKA overpriced, full of obnoxious drunk dudes who seem to have never learned bar etiquette and irritating, wasted girls falling over in the street because they’re wearing impractical shoes. It speaks to a few sad truths about the holiday: Nearly everyone’s trying to take someone home and/or have the best night of their lives; nearly everyone wakes up the next day staring down a new year with a champagne headache, a boatload of regrets, and many fewer dollars than they woke up with on Dec. 31.\u003c/p>\n\u003cfigure id=\"attachment_11203917\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11203917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/every_new_years_party-400x470.jpg\" alt=\"That particular joke flyer I was talking about\" width=\"400\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">I mean, they’re not wrong.\u003c/figcaption>\u003c/figure>\n\u003cp>That said, let’s get excited for New Year’s Eve!!\u003c/p>\n\u003cp>No, really. Truth be told, it is entirely possible to have a good — dare I say great — last night of 2015. It just involves being willing to go with the flow, having no expectations of it being the Most Perfect Night Ever, and (on the planet where I live, at least) minimizing New Year’s Day remorse by not spending a bajillion dollars on a prix fixe menu and “complimentary” glass of champagne.\u003c/p>\n\u003cp>Here are some $20-and-under options around the Bay that will help you do just that.\u003c/p>\n\u003cp>\u003cstrong>Hella Saucey New Year’s Eve Bash hosted by Aima the Dreamer at Elbo Room, SF. \u003c/strong>It’s been a rollercoaster of a year for this beloved Mission Dive, culminating in the happy announcement that \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">she’ll live to see 2018. \u003c/a>Celebrate with a killer lineup of local DJs, emceed by underrated hip-hop maven \u003ca href=\"https://www.facebook.com/Aima-the-Dreamer-136566167189/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/510671815776224/\" 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>New Year’s Eve Afternoon Balloon Drop Celebration at the Chabot Space & Science Center, Oakland.\u003c/strong> Having little ones doesn’t mean you have to stay home — let ’em in on the fun (and be home in time for dinner) with one of these afternoon countdowns and balloon drops, with different times for different age groups. $5; \u003ca href=\"http://www.chabotspace.org/balloon-drop.htm\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11204162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg\" alt=\"balloon-landing2\" width=\"400\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2.jpg 538w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Sw\u003c/strong>\u003cstrong>eater Funk NYE Boogie Bash at the Knockout, SF. \u003c/strong>Live performances from PLAZA and K-Maxx plus the classic Sweater Funk DJ crew. $7 – $10;\u003ca href=\"https://www.facebook.com/events/179135359104997/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gene Kelly double feature at the Castro Theater, SF. \u003c/strong>Hide from the future with the help of Gene Kelly, Frank Sinatra, and Debbie Reynolds at their finest, courtesy of \u003cem>Singin’ In the Rain\u003c/em> and \u003cem>On the Town.\u003c/em> $10; \u003ca href=\"http://castrotheatre.com/p-list.html#dec31\" 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/w40ushYAaYA'\n title='//www.youtube.com/embed/w40ushYAaYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>New Year’s Eve Fireworks, SF. \u003c/strong>Bundle up, grab a beverage for the stroll, and cross your fingers for another one of these clear, cool nights we’ve been having, as it will all help you take in this fabulous (and free!) fireworks display all along the Embarcadero. \u003ca href=\"http://sf.funcheap.com/san-francisco-new-years-eve-fireworks/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Wave’s Eve at the Nightlight, Oakland.\u003c/strong> Partying like it’s 1984 never gets old, right? The Cure, The Go-Gos, David Bowie, Joy Division, Gang of Four, Flock of Seagulls, Flock of Seagulls haircuts…you get the idea. $10; \u003ca href=\"https://www.facebook.com/events/187356208266108/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Bash with Lecherous Gaze, Pins of Light at the Hemlock Tavern, SF. \u003c/strong>Because nothing says “this is gonna be a great year” like starting it off sweaty while throwing yourself around to local punk/metal bad-asses. $12 – $15; \u003ca href=\"http://www.hemlocktavern.com/calendar/hemlock-tavern-new-years-eve-bash-with-pins-of-light-lecherous-gaze/\" target=\"_blank\" rel=\"noopener\">details here.\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday Night Soul Party at Virgil’s Sea Room, SF.\u003c/strong> Sure, NYE is on a Thursday, but why mess with a classic? Soul tunes spun all night; a Fernet-Branca toast at midnight, just to keep things interesting. $5; \u003ca href=\"https://www.facebook.com/events/810889409020352/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ian Fraser Kilmister, a.k.a. Lemmy, known for leading the metal band Motörhead for 40 years, died Monday, just four days after turning 70.\u003c/p>\n\u003cp>Rock radio DJ and host of \u003ci>That Metal Show\u003c/i> Eddie Trunk confirmed Kilmister’s death from an aggressive cancer Monday afternoon on Twitter:\u003c/p>\n\u003cp>https://twitter.com/EddieTrunk/status/681630612919312384? \u003c/p>\n\u003cp>After several decades of hard living, Kilmister had been dealing with health issues throughout 2015, culminating in a September show in Austin, Texas where he had to \u003ca href=\"http://www.independent.co.uk/news/people/motorhead-fans-health-fears-grow-over-lemmy-after-frontman-walks-off-stage-mid-concert-10484232.html\" target=\"_blank\" rel=\"noopener\">walk off stage after playing only three songs\u003c/a>.\u003c/p>\n\u003cp>Born on Christmas Eve in a small English town, Kilmister would go on to live a legendary rock ‘n’ roll life, starting with his time as a roadie for electric guitar pioneer Jimi Hendrix. Of those days, Kilmister would comment that one of his jobs was to buy Hendrix LSD, which he always shared.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a stint as a guitarist in groups such as the Rockin’ Vicars and Sam Gopal, Kilmister would find his calling as a bassist, picking up the instrument for the first time as a member of space-rock kings Hawkwind. Kilmister would stay with Hawkwind for three years, playing on notable albums as \u003cem>Doremi Fasol Latido\u003c/em> and \u003ci>Space Ritual.\u003c/i> He also sang on the band’s biggest hit single, “Silver Machine.”\u003c/p>\n\u003cp>Legal troubles and internal conflict would lead to Kilmister’s exit/firing from Hawkwind, but it didn’t take long before he founded Motörhead, named after a song he originally wrote for his former band. \u003c/p>\n\u003cp>Formed just as rock bands began to play faster and heavier, Motörhead would become one of the flagship bands in the quickly growing genre of “Heavy Metal.” The band would cement its legacy as one of the genre’s best with the release of the album \u003ci>Ace of Spades,\u003c/i> its title track cited by many as one of metal’s greatest songs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1iwC2QljLn4 \u003c/p>\n\u003cp>The band, which turned 40 this year, would go through numerous lineups and play thousands of shows. The band’s Facebook page confirmed its founder’s death with this statement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/OfficialMotorhead/posts/1107561019276205\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ian Fraser Kilmister, a.k.a. Lemmy, known for leading the metal band Motörhead for 40 years, died Monday, just four days after turning 70.\u003c/p>\n\u003cp>Rock radio DJ and host of \u003ci>That Metal Show\u003c/i> Eddie Trunk confirmed Kilmister’s death from an aggressive cancer Monday afternoon on Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>After several decades of hard living, Kilmister had been dealing with health issues throughout 2015, culminating in a September show in Austin, Texas where he had to \u003ca href=\"http://www.independent.co.uk/news/people/motorhead-fans-health-fears-grow-over-lemmy-after-frontman-walks-off-stage-mid-concert-10484232.html\" target=\"_blank\" rel=\"noopener\">walk off stage after playing only three songs\u003c/a>.\u003c/p>\n\u003cp>Born on Christmas Eve in a small English town, Kilmister would go on to live a legendary rock ‘n’ roll life, starting with his time as a roadie for electric guitar pioneer Jimi Hendrix. Of those days, Kilmister would comment that one of his jobs was to buy Hendrix LSD, which he always shared.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a stint as a guitarist in groups such as the Rockin’ Vicars and Sam Gopal, Kilmister would find his calling as a bassist, picking up the instrument for the first time as a member of space-rock kings Hawkwind. Kilmister would stay with Hawkwind for three years, playing on notable albums as \u003cem>Doremi Fasol Latido\u003c/em> and \u003ci>Space Ritual.\u003c/i> He also sang on the band’s biggest hit single, “Silver Machine.”\u003c/p>\n\u003cp>Legal troubles and internal conflict would lead to Kilmister’s exit/firing from Hawkwind, but it didn’t take long before he founded Motörhead, named after a song he originally wrote for his former band. \u003c/p>\n\u003cp>Formed just as rock bands began to play faster and heavier, Motörhead would become one of the flagship bands in the quickly growing genre of “Heavy Metal.” The band would cement its legacy as one of the genre’s best with the release of the album \u003ci>Ace of Spades,\u003c/i> its title track cited by many as one of metal’s greatest songs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1iwC2QljLn4 \u003c/p>\n\u003cp>The band, which turned 40 this year, would go through numerous lineups and play thousands of shows. The band’s Facebook page confirmed its founder’s death with this statement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/OfficialMotorhead/posts/1107561019276205\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cold and despondent on a rainy December afternoon, host Max Savage Levenson sets out to sing the praises of some of his favorite Bay Area tunes of 2015… all by his lonesome self.\u003c/p>\n\u003cp>But wait! Levenson then receives a messianic visit from one of his lifelong heroes, who glides through his year-end selections with staggering wisdom and profound insight! Listen in as Levenson and co-host \u003cstrong>Kanye West\u003c/strong> (appearing as a podcast’s closest approximation of a Tupac hologram) discuss\u003cstrong> \u003ca href=\"http://ideatheartist.com/#home\">Idea the Artist\u003c/a>\u003c/strong>’s vocal arrangements, \u003cstrong>\u003ca href=\"http://www.dodosmusic.net/\">the Dodos\u003c/a>\u003c/strong>’ lurching guitars, \u003cstrong>\u003ca href=\"http://waterstridermusic.com\">Waterstrider\u003c/a>\u003c/strong>’s epic vocals and much more on this episode of the podcast.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/239463775″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Songs Heard in This Episode of ‘Listen In’:\u003c/strong>\u003c/p>\n\u003cp>Idea the Artist – “The Ceiling”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Dodos – “The Tide”\u003c/p>\n\u003cp>Waterstrider- “Passing Ships”\u003c/p>\n\u003cp>Makeunder – “Plain Tendency”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Astronauts, etc. – “Upward Swing”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cold and despondent on a rainy December afternoon, host Max Savage Levenson sets out to sing the praises of some of his favorite Bay Area tunes of 2015… all by his lonesome self.\u003c/p>\n\u003cp>But wait! Levenson then receives a messianic visit from one of his lifelong heroes, who glides through his year-end selections with staggering wisdom and profound insight! Listen in as Levenson and co-host \u003cstrong>Kanye West\u003c/strong> (appearing as a podcast’s closest approximation of a Tupac hologram) discuss\u003cstrong> \u003ca href=\"http://ideatheartist.com/#home\">Idea the Artist\u003c/a>\u003c/strong>’s vocal arrangements, \u003cstrong>\u003ca href=\"http://www.dodosmusic.net/\">the Dodos\u003c/a>\u003c/strong>’ lurching guitars, \u003cstrong>\u003ca href=\"http://waterstridermusic.com\">Waterstrider\u003c/a>\u003c/strong>’s epic vocals and much more on this episode of the podcast.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/239463775″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/239463775″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Songs Heard in This Episode of ‘Listen In’:\u003c/strong>\u003c/p>\n\u003cp>Idea the Artist – “The Ceiling”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The SF City Attorney is Threatening to Sue Over Bieber Graffiti",
"title": "The SF City Attorney is Threatening to Sue Over Bieber Graffiti",
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"content": "\u003cp>Justin Bieber -- a puppy you sort of thought was cute once a long time ago but then he followed you home and wouldn't stop whining, chewing on the furniture, getting DUIs, sleeping with supermodels and making millions upon millions of dollars, all before he was old enough to drink -- has had a really good year.\u003c/p>\n\u003cp>That's an understatement, actually. The Great Bieber Rebrand of 2015 will likely be studied by breathless PR apprentices for years to come, as well it should be. How a guy went from \u003ca href=\"http://www.cnn.com/2014/01/23/showbiz/justin-bieber-arrest/\" target=\"_blank\">professional punchline\u003c/a> to topping professional critics' end\u003ca href=\"http://www.nytimes.com/2015/12/15/arts/music/the-best-songs-of-2015.html\" target=\"_blank\">-of-the-year lists\u003c/a> is a public image redemption arc for the ages.\u003c/p>\n\u003cp>Except that not everyone is won over so easily. SF City Attorney Dennis Herrera's office, for example, was probably not bumping \u003cem>Purpose (\u003c/em>which \u003ca href=\"http://www.billboard.com/articles/news/6814157/justin-bieber-purpose-million-seller\" target=\"_blank\">just went platinum\u003c/a>) when it issued a letter on Dec. 28, addressed to heads of Def Jam and Universal Music Group, blasting the \"illegal guerilla marketing stunt\" that accompanied the album -- a.k.a. the Bieber graffiti that began showing up on San Francisco sidewalks in the weeks before the album dropped in November.\u003c/p>\n\u003cfigure id=\"attachment_19641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19641\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png\" alt=\"#BURN\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2.png 876w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">#BURN\u003c/figcaption>\u003c/figure>\n\u003cp>From a\u003ca href=\"http://www.sfcityattorney.org/wp-content/uploads/2015/12/SF-V-BIEBER-PRESSKIT.pdf\" target=\"_blank\"> press release posted by Herrera's office\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Herrera, who called the graffiti vandalism “illegal and actionable” in a letter today to executives from Def Jam Records and Universal Music Group, vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics that intend to financially benefit your respective companies.”\u003c/p>\n\u003cp>San Francisco Public Works has for weeks responded to neighborhood complaints about the stenciled ads, which have otherwise persisted undiminished through several rainstorms. Unlike other recent instances of illegal sidewalk advertising that was chalk-based, according to Herrera’s letter, the Bieber-related graffiti appears to have been applied with permanent spray paint. Such defiant guerrilla marketing tactics have become an increasingly unwelcome sight to many San Francisco residents, according to their reactions on social media, in published news accounts, and in complaints to City officials.\u003c/p>\n\u003cp>“....This prohibited marketing practice illegally exploits our City’s walkable neighborhoods and robust tourism; intentionally creates visual distractions that pose risks to pedestrians on busy rights of way; and irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries—including Mr. Bieber and the record labels that produce and promote him.”\u003c/p>\u003c/blockquote>\n\u003cp>The letter does not, unfortunately, address how criminally sad it is for a major corporate media conglomerate to attempt to ply consumers into associating a mainstream-in-every-sense-of-the-term pop star with subversive \"street\" values, but perhaps that goes unspoken? Herrera does add that he has successfully fought back against \"virtually identical\" infractions from \"IBM, NBC Universal, Turner Broadcasting and Zynga\" over the past 15 years. Those actions did not, you will note, make for such fun headlines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We'll keep you posted on SF Taxpayers vs. The Biebs as the situation develops. Feel free to insert your own \"Is it too late for him to say sorry?\" joke here. In the meantime, our young Odysseus appears to be spending the holidays somewhere tropical, doing this:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:59.8239110287% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" margin:8px 0 0 0; padding:0 4px;\"> \u003ca href=\"https://www.instagram.com/p/_2JVEJgvie/\" style=\" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;\" target=\"_blank\">Follow me on snapchat my username is rickthesizzler\u003c/a>\u003c/p>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">A photo posted by Justin Bieber (@justinbieber) on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2015-12-28T18:45:21+00:00\">Dec 28, 2015 at 10:45am PST\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\u003c/p>\n\n",
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"excerpt": "The 'Purpose' marketing campaign 'irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries,' said Herrera. No word on if he thinks the album is overrated too",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justin Bieber -- a puppy you sort of thought was cute once a long time ago but then he followed you home and wouldn't stop whining, chewing on the furniture, getting DUIs, sleeping with supermodels and making millions upon millions of dollars, all before he was old enough to drink -- has had a really good year.\u003c/p>\n\u003cp>That's an understatement, actually. The Great Bieber Rebrand of 2015 will likely be studied by breathless PR apprentices for years to come, as well it should be. How a guy went from \u003ca href=\"http://www.cnn.com/2014/01/23/showbiz/justin-bieber-arrest/\" target=\"_blank\">professional punchline\u003c/a> to topping professional critics' end\u003ca href=\"http://www.nytimes.com/2015/12/15/arts/music/the-best-songs-of-2015.html\" target=\"_blank\">-of-the-year lists\u003c/a> is a public image redemption arc for the ages.\u003c/p>\n\u003cp>Except that not everyone is won over so easily. SF City Attorney Dennis Herrera's office, for example, was probably not bumping \u003cem>Purpose (\u003c/em>which \u003ca href=\"http://www.billboard.com/articles/news/6814157/justin-bieber-purpose-million-seller\" target=\"_blank\">just went platinum\u003c/a>) when it issued a letter on Dec. 28, addressed to heads of Def Jam and Universal Music Group, blasting the \"illegal guerilla marketing stunt\" that accompanied the album -- a.k.a. the Bieber graffiti that began showing up on San Francisco sidewalks in the weeks before the album dropped in November.\u003c/p>\n\u003cfigure id=\"attachment_19641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19641\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png\" alt=\"#BURN\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/bieber-graffiti-2.png 876w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">#BURN\u003c/figcaption>\u003c/figure>\n\u003cp>From a\u003ca href=\"http://www.sfcityattorney.org/wp-content/uploads/2015/12/SF-V-BIEBER-PRESSKIT.pdf\" target=\"_blank\"> press release posted by Herrera's office\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Herrera, who called the graffiti vandalism “illegal and actionable” in a letter today to executives from Def Jam Records and Universal Music Group, vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics that intend to financially benefit your respective companies.”\u003c/p>\n\u003cp>San Francisco Public Works has for weeks responded to neighborhood complaints about the stenciled ads, which have otherwise persisted undiminished through several rainstorms. Unlike other recent instances of illegal sidewalk advertising that was chalk-based, according to Herrera’s letter, the Bieber-related graffiti appears to have been applied with permanent spray paint. Such defiant guerrilla marketing tactics have become an increasingly unwelcome sight to many San Francisco residents, according to their reactions on social media, in published news accounts, and in complaints to City officials.\u003c/p>\n\u003cp>“....This prohibited marketing practice illegally exploits our City’s walkable neighborhoods and robust tourism; intentionally creates visual distractions that pose risks to pedestrians on busy rights of way; and irresponsibly tells our youth that likeminded lawlessness and contempt for public property are condoned and encouraged by its beneficiaries—including Mr. Bieber and the record labels that produce and promote him.”\u003c/p>\u003c/blockquote>\n\u003cp>The letter does not, unfortunately, address how criminally sad it is for a major corporate media conglomerate to attempt to ply consumers into associating a mainstream-in-every-sense-of-the-term pop star with subversive \"street\" values, but perhaps that goes unspoken? Herrera does add that he has successfully fought back against \"virtually identical\" infractions from \"IBM, NBC Universal, Turner Broadcasting and Zynga\" over the past 15 years. Those actions did not, you will note, make for such fun headlines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We'll keep you posted on SF Taxpayers vs. The Biebs as the situation develops. Feel free to insert your own \"Is it too late for him to say sorry?\" joke here. In the meantime, our young Odysseus appears to be spending the holidays somewhere tropical, doing this:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:59.8239110287% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" margin:8px 0 0 0; padding:0 4px;\"> \u003ca href=\"https://www.instagram.com/p/_2JVEJgvie/\" style=\" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;\" target=\"_blank\">Follow me on snapchat my username is rickthesizzler\u003c/a>\u003c/p>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">A photo posted by Justin Bieber (@justinbieber) on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2015-12-28T18:45:21+00:00\">Dec 28, 2015 at 10:45am PST\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An 'Epic' Year In California Music",
"title": "An 'Epic' Year In California Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wzi_A2cyWu8\u003c/p>\n\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871051\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1t9_UNjaDxU\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\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/Wzi_A2cyWu8'\n title='//www.youtube.com/embed/Wzi_A2cyWu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238871051&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/238871051'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\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/1t9_UNjaDxU'\n title='//www.youtube.com/embed/1t9_UNjaDxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"soldout": {
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