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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Rova Saxophone Quartet Ascends With 'Rova Channeling Coltrane'",
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"content": "\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/242187183\" 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>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\n\u003cp>https://vimeo.com/78500784\u003c/p>\n\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\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/242187183&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/242187183'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "glenn-frey-eagles-co-founder-who-sang-take-it-easy-dies",
"title": "Glenn Frey, Eagles Co-Founder Who Sang 'Take It Easy,' Dies",
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"headTitle": "Glenn Frey, Eagles Co-Founder Who Sang ‘Take It Easy,’ Dies | KQED",
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"content": "\u003cp>Glenn Frey, a rock ‘n’ roll rebel from Detroit who journeyed West, co-founded the Eagles and with Don Henley became one of history’s most successful songwriting teams with such hits as “Hotel California” and “Life in the Fast Lane,” has died.\u003c/p>\n\u003cp>Frey, 67, died of complications from rheumatoid arthritis, acute ulcerative colitis and pneumonia, the band said on its website. He died Monday in New York. He had fought the ailments for the past several weeks, the band said.\u003c/p>\n\u003cp>“The Frey family would like to thank everyone who joined Glenn to fight this fight and hoped and prayed for his recovery,” a statement on the band’s website said. “Words can neither describe our sorrow, nor our love and respect for all that he has given to us, his family, the music community & millions of fans worldwide.”\u003c/p>\n\u003cp>Frey’s health problems, including diverticulitis, dated to the 1980s. He would blame in part his years of “burgers and beer and blow and broads” and later became a fitness advocate.\u003c/p>\n\u003cp>Guitarist Frey and drummer Henley formed the Eagles in Los Angeles in the early 1970s, along with guitarist Bernie Leadon and bassist Randy Meisner. Their popularity grew steadily, and they embodied for many listeners the melodic Los Angeles sound despite having no native Californians in the group. Critics often dismissed them as slick and unadventurous, but their blend of mellow ballads and macho rockers, and of pop and folk and country, gave them unusually broad appeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An Eagles greatest-hits collection and \u003cem>Hotel California\u003c/em>, both released in the 1970s, have sold more than 20 million copies each and are among the best-selling albums of modern times. The band’s total album sales top 100 million copies.\u003c/p>\n\u003cp>The Eagles’ many hit singles include “The Best of My Love,” “Desperado,” “One of These Nights” and “The Long Run.” The impulsive Frey and the more cerebral Henley shared songwriting and singing duties, with Frey’s drawling tenor featured on “Heartache Tonight,” “Already Gone” and the group’s breakthrough hit, “Take it Easy.”\u003c/p>\n\u003cp>Henley said crossing paths with Frey in 1970 “changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet.”\u003c/p>\n\u003cfigure id=\"attachment_11257635\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-800x545.jpg\" alt='Glen Frey and Don Henley of the Eagles perform during \"History Of The Eagles Live In Concert\" at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. ' width=\"800\" height=\"545\" class=\"size-medium wp-image-11257635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-768x523.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glen Frey and Don Henley of the Eagles perform during “History Of The Eagles Live In Concert” at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. \u003ccite>(Photo: Rick Diamond/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their popularity well outlasted their breakup in 1980 and the 14-year hiatus that followed. Their records remained consistent sellers, and they were a top touring act over the last 20 years even though Frey and Henley were the only remaining original members. They were joined on stage by guitarist Joe Walsh, who replaced Leadon in the mid-1970s, and bassist Timothy B. Schmit, who stepped in after Meisner quit in 1977. Guitarist Don Felder was added in 1974 but was fired in 2001 amid disputes over money.\u003c/p>\n\u003cp>The band was inducted into the Rock & Roll Hall of Fame in 1998 and was supposed to have been honored at the Kennedy Center last month, but the appearance was postponed because of Frey’s health. Its six Grammys include Record of the Year for \u003cem>Hotel California\u003c/em> and best country performance by a vocal duo or group for “How Long,” from the 2007 album \u003cem>Long Road Out of Eden\u003c/em>, another No. 1 seller.\u003c/p>\n\u003cp>Frey had occasional success as a solo artist, with songs including “The One You Love” and “You Belong to the City,” and careers in movies and television. He appeared on episodes of \u003cem>Miami Vice\u003c/em> and \u003cem>Nash Bridges\u003c/em>, both featuring his friend Don Johnson, and appeared in the film \u003cem>Jerry McGuire\u003c/em>, directed by Cameron Crowe, who had befriended him after he interviewed the Eagles for Rolling Stone magazine in the 1970s. Frey’s “The Heat Is On” was a hit from the \u003cem>Beverly Hills Cop\u003c/em> soundtrack, and his “Smuggler’s Blues” inspired a \u003cem>Miami Vice\u003c/em> episode of the same name.\u003c/p>\n\u003cp>A Showtime documentary, \u003cem>The History of the Eagles\u003c/em>, aired in 2013. Last summer, the group completed a two-year “History of the Eagles” tour.\u003c/p>\n\u003cp>Frey, known for his oversized jaw, big grin and wavy dark hair, loved music, girls and the rock ‘n’ roll life. He was playing in bands as a teenager, with fellow Detroit musician Bob Seger among his early friends, and would meet up with Henley, Meisner and Leadon while all were trying to catch on in the Los Angeles music scene. For a time the four backed Linda Ronstadt, and other musicians they came to know were Jackson Browne, who wrote most of “Take it Easy,” and J.D. Souther, who collaborated on “New Kid in Town” and other songs.\u003c/p>\n\u003cp>Anyone around them at the time knew they were determined to make it and make it big. The Eagles’ personnel, sound and overall direction would change often in the ’70s as they adapted to the changes of the decade itself. “Take it Easy,” released in 1972, defined their early image as mellow, country-influenced musicians, but they soon desired a harder, more straightforward rock sound. They added Felder, whose work was featured on “Already Gone” and other uptempo songs. When a frustrated Leadon, a bluegrass picker, quit in 1975, they brought in Walsh, one of music’s wildest and loudest performers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=puHoadtIivc\u003c/p>\n\u003cp>“Hotel California” was their creative peak, the title song a long and intricate rocker that captured the decadence of mid-’70s Los Angeles as unforgettably as “Take it Easy” stood for a more laid-back time. It was the ultimate collaboration between Henley and Frey, with Henley singing lead and sketching the story of the hotel where “you can check out anytime, but you can never leave” and Frey filling such conversational touches as “livin’ it up at the Hotel California.” Frey sang lead on “New Kid in Town” and picked up on an expression, uttered by his drug dealer, that became an Eagles song and popular catchphrase, “Life in the Fast Lane.”\u003c/p>\n\u003cp>The bandmates harmonized memorably on stage and on record but fought often otherwise. Felder would remember first playing with them and wondering even then if they would break up. Leadon and Meisner departed after run-ins with Frey. The band’s initial breakup in 1980 happened after Felder and Frey nearly came to blows after a concert in Long Beach, California. They would ruefully call the show “Long Night at Wrong Beach.”\u003c/p>\n\u003cp>Frey and Henley also became estranged for years, their breach a key reason the band stayed apart in the 1980s. Henley had vowed the Eagles would reunite only when “hell freezes over,” which became the name of the 1994 album they had never imagined making.\u003c/p>\n\u003cp>“The bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved,” Henley said Monday. “Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn’t quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Music writer Mesfin Fekadu contributed to this report.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Glenn Frey, a rock ‘n’ roll rebel from Detroit who journeyed West, co-founded the Eagles and with Don Henley became one of history’s most successful songwriting teams with such hits as “Hotel California” and “Life in the Fast Lane,” has died.\u003c/p>\n\u003cp>Frey, 67, died of complications from rheumatoid arthritis, acute ulcerative colitis and pneumonia, the band said on its website. He died Monday in New York. He had fought the ailments for the past several weeks, the band said.\u003c/p>\n\u003cp>“The Frey family would like to thank everyone who joined Glenn to fight this fight and hoped and prayed for his recovery,” a statement on the band’s website said. “Words can neither describe our sorrow, nor our love and respect for all that he has given to us, his family, the music community & millions of fans worldwide.”\u003c/p>\n\u003cp>Frey’s health problems, including diverticulitis, dated to the 1980s. He would blame in part his years of “burgers and beer and blow and broads” and later became a fitness advocate.\u003c/p>\n\u003cp>Guitarist Frey and drummer Henley formed the Eagles in Los Angeles in the early 1970s, along with guitarist Bernie Leadon and bassist Randy Meisner. Their popularity grew steadily, and they embodied for many listeners the melodic Los Angeles sound despite having no native Californians in the group. Critics often dismissed them as slick and unadventurous, but their blend of mellow ballads and macho rockers, and of pop and folk and country, gave them unusually broad appeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An Eagles greatest-hits collection and \u003cem>Hotel California\u003c/em>, both released in the 1970s, have sold more than 20 million copies each and are among the best-selling albums of modern times. The band’s total album sales top 100 million copies.\u003c/p>\n\u003cp>The Eagles’ many hit singles include “The Best of My Love,” “Desperado,” “One of These Nights” and “The Long Run.” The impulsive Frey and the more cerebral Henley shared songwriting and singing duties, with Frey’s drawling tenor featured on “Heartache Tonight,” “Already Gone” and the group’s breakthrough hit, “Take it Easy.”\u003c/p>\n\u003cp>Henley said crossing paths with Frey in 1970 “changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet.”\u003c/p>\n\u003cfigure id=\"attachment_11257635\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-800x545.jpg\" alt='Glen Frey and Don Henley of the Eagles perform during \"History Of The Eagles Live In Concert\" at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. ' width=\"800\" height=\"545\" class=\"size-medium wp-image-11257635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Frey-and-Henley-768x523.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glen Frey and Don Henley of the Eagles perform during “History Of The Eagles Live In Concert” at the Bridgestone Arena on October 16, 2013 in Nashville, Tennessee. \u003ccite>(Photo: Rick Diamond/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their popularity well outlasted their breakup in 1980 and the 14-year hiatus that followed. Their records remained consistent sellers, and they were a top touring act over the last 20 years even though Frey and Henley were the only remaining original members. They were joined on stage by guitarist Joe Walsh, who replaced Leadon in the mid-1970s, and bassist Timothy B. Schmit, who stepped in after Meisner quit in 1977. Guitarist Don Felder was added in 1974 but was fired in 2001 amid disputes over money.\u003c/p>\n\u003cp>The band was inducted into the Rock & Roll Hall of Fame in 1998 and was supposed to have been honored at the Kennedy Center last month, but the appearance was postponed because of Frey’s health. Its six Grammys include Record of the Year for \u003cem>Hotel California\u003c/em> and best country performance by a vocal duo or group for “How Long,” from the 2007 album \u003cem>Long Road Out of Eden\u003c/em>, another No. 1 seller.\u003c/p>\n\u003cp>Frey had occasional success as a solo artist, with songs including “The One You Love” and “You Belong to the City,” and careers in movies and television. He appeared on episodes of \u003cem>Miami Vice\u003c/em> and \u003cem>Nash Bridges\u003c/em>, both featuring his friend Don Johnson, and appeared in the film \u003cem>Jerry McGuire\u003c/em>, directed by Cameron Crowe, who had befriended him after he interviewed the Eagles for Rolling Stone magazine in the 1970s. Frey’s “The Heat Is On” was a hit from the \u003cem>Beverly Hills Cop\u003c/em> soundtrack, and his “Smuggler’s Blues” inspired a \u003cem>Miami Vice\u003c/em> episode of the same name.\u003c/p>\n\u003cp>A Showtime documentary, \u003cem>The History of the Eagles\u003c/em>, aired in 2013. Last summer, the group completed a two-year “History of the Eagles” tour.\u003c/p>\n\u003cp>Frey, known for his oversized jaw, big grin and wavy dark hair, loved music, girls and the rock ‘n’ roll life. He was playing in bands as a teenager, with fellow Detroit musician Bob Seger among his early friends, and would meet up with Henley, Meisner and Leadon while all were trying to catch on in the Los Angeles music scene. For a time the four backed Linda Ronstadt, and other musicians they came to know were Jackson Browne, who wrote most of “Take it Easy,” and J.D. Souther, who collaborated on “New Kid in Town” and other songs.\u003c/p>\n\u003cp>Anyone around them at the time knew they were determined to make it and make it big. The Eagles’ personnel, sound and overall direction would change often in the ’70s as they adapted to the changes of the decade itself. “Take it Easy,” released in 1972, defined their early image as mellow, country-influenced musicians, but they soon desired a harder, more straightforward rock sound. They added Felder, whose work was featured on “Already Gone” and other uptempo songs. When a frustrated Leadon, a bluegrass picker, quit in 1975, they brought in Walsh, one of music’s wildest and loudest performers.\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/puHoadtIivc'\n title='//www.youtube.com/embed/puHoadtIivc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Hotel California” was their creative peak, the title song a long and intricate rocker that captured the decadence of mid-’70s Los Angeles as unforgettably as “Take it Easy” stood for a more laid-back time. It was the ultimate collaboration between Henley and Frey, with Henley singing lead and sketching the story of the hotel where “you can check out anytime, but you can never leave” and Frey filling such conversational touches as “livin’ it up at the Hotel California.” Frey sang lead on “New Kid in Town” and picked up on an expression, uttered by his drug dealer, that became an Eagles song and popular catchphrase, “Life in the Fast Lane.”\u003c/p>\n\u003cp>The bandmates harmonized memorably on stage and on record but fought often otherwise. Felder would remember first playing with them and wondering even then if they would break up. Leadon and Meisner departed after run-ins with Frey. The band’s initial breakup in 1980 happened after Felder and Frey nearly came to blows after a concert in Long Beach, California. They would ruefully call the show “Long Night at Wrong Beach.”\u003c/p>\n\u003cp>Frey and Henley also became estranged for years, their breach a key reason the band stayed apart in the 1980s. Henley had vowed the Eagles would reunite only when “hell freezes over,” which became the name of the 1994 album they had never imagined making.\u003c/p>\n\u003cp>“The bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved,” Henley said Monday. “Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn’t quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Music writer Mesfin Fekadu contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Welcome to Pajama Film Fest (PJFF), a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/06/wear-your-pajamas-for-this-animation-film-fest/\" target=\"_blank\" rel=\"noopener\">series\u003c/a> of thematic video collections that you can enjoy at home in the comfort of your PJs or \u003ca href=\"https://youtu.be/CYRENWT8lz8\" target=\"_blank\" rel=\"noopener\">“activewear”\u003c/a>.\u003c/p>\n\u003cp>Get in the mood for some very artsy music videos, with visuals created by moonlighting contemporary artists like Mrzyk & Moriceau, Takashi Murakami, Allison Schulnik and Andrew Jeffrey Wright, plus the animation studio \u003ca href=\"http://wwm.productions/index.php\" target=\"_blank\" rel=\"noopener\">WeWereMonkeys\u003c/a>, which creates gorgeous, grayscale masterpieces for pop stars. In this collection, you’ll see both handmade and digital animation, along with anthropomorphic easy chairs and melting clown faces. So, sit back, relax, and enjoy this eye candy.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=videoseries?list=PLQbEeD0LWbMH1x20bKigcuYxVPyOiUIsH]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Pajama Film Fest (PJFF), a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/06/wear-your-pajamas-for-this-animation-film-fest/\" target=\"_blank\" rel=\"noopener\">series\u003c/a> of thematic video collections that you can enjoy at home in the comfort of your PJs or \u003ca href=\"https://youtu.be/CYRENWT8lz8\" target=\"_blank\" rel=\"noopener\">“activewear”\u003c/a>.\u003c/p>\n\u003cp>Get in the mood for some very artsy music videos, with visuals created by moonlighting contemporary artists like Mrzyk & Moriceau, Takashi Murakami, Allison Schulnik and Andrew Jeffrey Wright, plus the animation studio \u003ca href=\"http://wwm.productions/index.php\" target=\"_blank\" rel=\"noopener\">WeWereMonkeys\u003c/a>, which creates gorgeous, grayscale masterpieces for pop stars. In this collection, you’ll see both handmade and digital animation, along with anthropomorphic easy chairs and melting clown faces. So, sit back, relax, and enjoy this eye candy.\u003c/p>\n\u003cp>\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/videoseries?list=PLQbEeD0LWbMH1x20bKigcuYxVPyOiUIsH'\n title='//www.youtube.com/embed/videoseries?list=PLQbEeD0LWbMH1x20bKigcuYxVPyOiUIsH'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "lost-weekend-video-1-2-3-4-go-planning-to-relocate-to-new-spaces",
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"content": "\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"title": "Lost Weekend Video, 1-2-3-4 Go! Planning to Relocate to New Spaces | KQED",
"description": "The two stores are both currently working deals to move out of their space on Valencia Street, where Lost Weekend Video has been for almost 20 years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s 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/2016/01/TDL01152016.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=VzXYvyFqM4Y\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z3aklEgwjF8\u003c/p>\n\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\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/VzXYvyFqM4Y'\n title='//www.youtube.com/embed/VzXYvyFqM4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" 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/z3aklEgwjF8'\n title='//www.youtube.com/embed/z3aklEgwjF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 10 Most Amusing Predictions Nikki, Psychic to the Stars, Made for 2016",
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"content": "\u003cp>Huge ants, a cat dog hybrid and Krystal South Kardashian West, coming to a future near you!\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/01/predictions.mp3\" title=\"The 10 Most Amusing Predictions Nikki, Psychic to the Stars, Made for 2016\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, I'm sharing two bits of news with you dear listeners.\u003c/p>\n\u003cp>\u003cstrong>Bad news:\u003c/strong> we're still on hiatus.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/c9b0efb2db0e8884d71b7ee10c63bcc9.500x265x21.gif\" rel=\"attachment wp-att-19879\">\u003cimg class=\"aligncenter size-full wp-image-19879\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/c9b0efb2db0e8884d71b7ee10c63bcc9.500x265x21.gif\" alt=\"leo i defy you stars gif\" width=\"500\" height=\"265\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Good news:\u003c/strong> that hiatus will be dunzo on January 28th with the debut of an all-new full-length episode!!!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" rel=\"attachment wp-att-19880\">\u003cimg class=\"aligncenter size-full wp-image-19880\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" alt=\"leo dicaprio dancing\" width=\"568\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>I felt lazy just leaving it at that for the week so I put together my 10 favorite bizzare-o predictions Nikki, Psychic to the Stars, made for the coming year.\u003c/p>\n\u003cp>They involve a cat and dog hybrid:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" rel=\"attachment wp-att-19918\">\u003cimg class=\"aligncenter size-full wp-image-19918\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" alt=\"tumblr_nn6wva7RbO1sf2cm2o1_500\" width=\"500\" height=\"398\">\u003c/a>\u003c/p>\n\u003cp>A White House break-in by a monkey (here's hoping it's our beloved IKEA friend):\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" rel=\"attachment wp-att-19919\">\u003cimg class=\"aligncenter size-full wp-image-19919\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" alt=\"anigif_enhanced-buzz-25328-1384182042-35\" width=\"477\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And yet another Kardashian-West baby by the name of Krystal South:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" rel=\"attachment wp-att-19920\">\u003cimg class=\"aligncenter size-full wp-image-19920\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" alt=\"kimk-1415673876\" width=\"460\" height=\"262\">\u003c/a>\u003c/p>\n\u003cp>Listen to find out what 2016 allegedly has in store!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/242057775&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>And that's just scratching the surface. Nikki has hundreds of other predictions too. For the full list, check out her website:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.psychicnikki.com/\">Nikki - Psychic to the Stars - 416-961-7976\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Good news:\u003c/strong> that hiatus will be dunzo on January 28th with the debut of an all-new full-length episode!!!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" rel=\"attachment wp-att-19880\">\u003cimg class=\"aligncenter size-full wp-image-19880\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-1.gif\" alt=\"leo dicaprio dancing\" width=\"568\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>I felt lazy just leaving it at that for the week so I put together my 10 favorite bizzare-o predictions Nikki, Psychic to the Stars, made for the coming year.\u003c/p>\n\u003cp>They involve a cat and dog hybrid:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" rel=\"attachment wp-att-19918\">\u003cimg class=\"aligncenter size-full wp-image-19918\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/tumblr_nn6wva7RbO1sf2cm2o1_500.gif\" alt=\"tumblr_nn6wva7RbO1sf2cm2o1_500\" width=\"500\" height=\"398\">\u003c/a>\u003c/p>\n\u003cp>A White House break-in by a monkey (here's hoping it's our beloved IKEA friend):\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" rel=\"attachment wp-att-19919\">\u003cimg class=\"aligncenter size-full wp-image-19919\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-25328-1384182042-35.gif\" alt=\"anigif_enhanced-buzz-25328-1384182042-35\" width=\"477\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And yet another Kardashian-West baby by the name of Krystal South:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" rel=\"attachment wp-att-19920\">\u003cimg class=\"aligncenter size-full wp-image-19920\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/kimk-1415673876.gif\" alt=\"kimk-1415673876\" width=\"460\" height=\"262\">\u003c/a>\u003c/p>\n\u003cp>Listen to find out what 2016 allegedly has in store!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/242057775&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>And that's just scratching the surface. Nikki has hundreds of other predictions too. For the full list, check out her website:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.psychicnikki.com/\">Nikki - Psychic to the Stars - 416-961-7976\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vPRfP_TEQ-g\u003c/p>\n\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n",
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"excerpt": "...if you want to feel really scared and sad for America, that is! Sorry. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vPRfP_TEQ-g'\n title='//www.youtube.com/embed/vPRfP_TEQ-g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you get when you cross a father who was a preacher, an uncle who was a pimp, a professional boxing career and an acoustic guitar?\u003c/p>\n\u003cp>Believe it or not, this isn’t a hypothetical joke from some Catskills comedian’s standup act — it’s the real-life biography Paul Thorn, the second-most famous singer to come out of Tupelo, Mississippi. And while Thorn’s own albums are must-haves in any Americana collection, the real way to experience the guy is live and in person — perfectly complementing his music are Thorn’s well-honed anecdotes, sardonic wit and quick-thinking patter. (I once saw him make three jokes and one life lesson out of a seeing-eye dog in the audience, all in under 30 seconds flat.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7g14QbXu28\u003c/p>\n\u003cp>As for his songs, the preacher’s influence shows up (“Mission Temple Fireworks Stand”), as does the shadow of the pimp uncle (“A Long Way From Tupelo”). Sometimes the two converge (“Joanie, the Jehovah’s Witness Stripper”). Even his boxing days crop up now and again — his professional bout with Roberto Duran inspired the wryly titled “I’d Rather Be a Hammer Than a Nail.” But it’s Thorn’s songs about the rockiness of love and relationships that really shine: “I Don’t Want to Know,” “Everybody Looks Good at the Starting Line.” And he knows more than anyone that he ain’t no hero. About an early song called “Resurrection Day,” I once heard him introduce it in his Mississippi drawl:\u003c/p>\n\u003cblockquote>\u003cp>My first album was all songs I wrote to try and win back a girl who broke up with me because I cheated on her. The story is as simple as that. When the album came out, I thought she would hear the songs and be so overcome that she’d run back to me. But instead of winning her back, they only gave her more power to treat me like dirt. And that’s what she did, for a long time. So here’s a very beautiful song that accomplished nothing.\u003c/p>\u003c/blockquote>\n\u003cp>Thorn’s latest album is \u003cem>Too Blessed to Be Stressed\u003c/em>, and plays with his band on \u003ca href=\"http://www.thefreight.org/paul-thorn-band-3\" target=\"_blank\" rel=\"noopener\">Saturday, Jan. 16 at Freight & Salvage in Berkeley\u003c/a> and \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6336605&pl=mystic\" target=\"_blank\" rel=\"noopener\">Wednesday, Jan. 20 at the Mystic Theatre in Petaluma\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other recommended live music events around the Bay Area this week include:\u003c/p>\n\u003cfigure id=\"attachment_11244240\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/blockhead.jpg\" alt=\"Blockhead.\" width=\"460\" height=\"290\" class=\"size-full wp-image-11244240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead-400x252.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Blockhead.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 15: Blockhead at the New Parish.\u003c/strong> As an early producer for Aesop Rock, Blockhead wedged his foot in the instrumental hip-hop door at a time when independent hip-hop was at a peak. And while other pioneers of the form may have eventually enjoyed higher visibility (see: the \u003cem>Mad Men\u003c/em> theme song, by producer RJD2), Blockhead’s music has a timelessness rooted in the boom-bap tradition. He performs at the New Parish alongside art by Dan Hampe, Rachel Mandala, Sun Dough, Dustin Derego and Lucas Rodri; Mikos Da Gawd, Barisone and DJ Bluz open. \u003ca href=\"http://thenewparish.com/event.cfm?id=228036\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244242\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg\" alt=\"The Kahane Trio.\" width=\"630\" height=\"310\" class=\"size-full wp-image-11244242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">The Kahane Trio.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16: Jeffrey Kahane Trio at the Green Music Center\u003c/strong>. When he left the conductor’s position at the Santa Rosa Symphony in 2006, Jeffrey Kahane had reinvented the orchestra and raised its reputation significantly in a span of just 10 years. Though he’s returned intermittently to guest-conduct or, more often, perform as a piano soloist, Kahane’s return this week in a trio setting is a rare treat. Along with Joseph Swensen on violin and Carter Brey on cello, Kahane performs trios by Mozart, Schumann and Schubert in the Green Music Center’s acoustically exquisite main hall. \u003ca href=\"http://gmc.sonoma.edu/event/2542386-kahane-swensen-brey-trio\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244239\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg\" alt=\"Vanessa Carlton.\" width=\"460\" height=\"282\" class=\"size-full wp-image-11244239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton-400x245.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Carlton.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Jan. 19: Vanessa Carlton at the Independent\u003c/strong>. Here’s a test. Ask yourself, “Do I know a Vanessa Carlton song?” If your answer is “no,” \u003ca href=\"https://www.youtube.com/watch?v=Cwkej79U3ek\" target=\"_blank\" rel=\"noopener\">click right here\u003c/a> and feel the wave of recognition wash over you. “A Thousand Miles,” from 2000, is the type of song that’s still played on radio stations and dentist’s office’s P.A. systems nationwide. Carlton’s come a long way from that albatross of a hit — in fact, to obtain her current recording contract, she sent anonymous demos to the record company so as not to cloud the music with preconceived notions of a former teen pop star. The result is \u003cem>Liberman\u003c/em>, an album that showcases Carlton’s maturity — she recently married Deer Tick frontman John McCauley III and became a mom — and ever-emotive voice. \u003ca href=\"http://www.apeconcerts.com/event/1004873-vanessa-carlton-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244241\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg\" alt=\"Lupe Fiasco.\" width=\"460\" height=\"266\" class=\"size-full wp-image-11244241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite-400x231.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Lupe Fiasco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20: Lupe Fiasco at the Mezzanine\u003c/strong>. It’s been almost 10 years since Chicago rapper Lupe Fiasco’s breakout debut, \u003cem>Food & Liquor\u003c/em>, and hip-hop from the Windy City has undergone major transformations since — most notably the rise of Chief Keef’s drill-style hip-hop and Chance the Rapper’s live-jazz collaborations. Fiasco’s new album, \u003cem>Tetsuo & Youth\u003c/em>, is based on his upbringing in Chicago, and it’s as conscious-minded and political as ever. \u003ca href=\"http://mezzaninesf.com/events/lupe-fiasco-tour-for-the-fans/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you get when you cross a father who was a preacher, an uncle who was a pimp, a professional boxing career and an acoustic guitar?\u003c/p>\n\u003cp>Believe it or not, this isn’t a hypothetical joke from some Catskills comedian’s standup act — it’s the real-life biography Paul Thorn, the second-most famous singer to come out of Tupelo, Mississippi. And while Thorn’s own albums are must-haves in any Americana collection, the real way to experience the guy is live and in person — perfectly complementing his music are Thorn’s well-honed anecdotes, sardonic wit and quick-thinking patter. (I once saw him make three jokes and one life lesson out of a seeing-eye dog in the audience, all in under 30 seconds flat.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r7g14QbXu28'\n title='//www.youtube.com/embed/r7g14QbXu28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for his songs, the preacher’s influence shows up (“Mission Temple Fireworks Stand”), as does the shadow of the pimp uncle (“A Long Way From Tupelo”). Sometimes the two converge (“Joanie, the Jehovah’s Witness Stripper”). Even his boxing days crop up now and again — his professional bout with Roberto Duran inspired the wryly titled “I’d Rather Be a Hammer Than a Nail.” But it’s Thorn’s songs about the rockiness of love and relationships that really shine: “I Don’t Want to Know,” “Everybody Looks Good at the Starting Line.” And he knows more than anyone that he ain’t no hero. About an early song called “Resurrection Day,” I once heard him introduce it in his Mississippi drawl:\u003c/p>\n\u003cblockquote>\u003cp>My first album was all songs I wrote to try and win back a girl who broke up with me because I cheated on her. The story is as simple as that. When the album came out, I thought she would hear the songs and be so overcome that she’d run back to me. But instead of winning her back, they only gave her more power to treat me like dirt. And that’s what she did, for a long time. So here’s a very beautiful song that accomplished nothing.\u003c/p>\u003c/blockquote>\n\u003cp>Thorn’s latest album is \u003cem>Too Blessed to Be Stressed\u003c/em>, and plays with his band on \u003ca href=\"http://www.thefreight.org/paul-thorn-band-3\" target=\"_blank\" rel=\"noopener\">Saturday, Jan. 16 at Freight & Salvage in Berkeley\u003c/a> and \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6336605&pl=mystic\" target=\"_blank\" rel=\"noopener\">Wednesday, Jan. 20 at the Mystic Theatre in Petaluma\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other recommended live music events around the Bay Area this week include:\u003c/p>\n\u003cfigure id=\"attachment_11244240\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/blockhead.jpg\" alt=\"Blockhead.\" width=\"460\" height=\"290\" class=\"size-full wp-image-11244240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/blockhead-400x252.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Blockhead.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 15: Blockhead at the New Parish.\u003c/strong> As an early producer for Aesop Rock, Blockhead wedged his foot in the instrumental hip-hop door at a time when independent hip-hop was at a peak. And while other pioneers of the form may have eventually enjoyed higher visibility (see: the \u003cem>Mad Men\u003c/em> theme song, by producer RJD2), Blockhead’s music has a timelessness rooted in the boom-bap tradition. He performs at the New Parish alongside art by Dan Hampe, Rachel Mandala, Sun Dough, Dustin Derego and Lucas Rodri; Mikos Da Gawd, Barisone and DJ Bluz open. \u003ca href=\"http://thenewparish.com/event.cfm?id=228036\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244242\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg\" alt=\"The Kahane Trio.\" width=\"630\" height=\"310\" class=\"size-full wp-image-11244242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/kahanetrio-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">The Kahane Trio.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16: Jeffrey Kahane Trio at the Green Music Center\u003c/strong>. When he left the conductor’s position at the Santa Rosa Symphony in 2006, Jeffrey Kahane had reinvented the orchestra and raised its reputation significantly in a span of just 10 years. Though he’s returned intermittently to guest-conduct or, more often, perform as a piano soloist, Kahane’s return this week in a trio setting is a rare treat. Along with Joseph Swensen on violin and Carter Brey on cello, Kahane performs trios by Mozart, Schumann and Schubert in the Green Music Center’s acoustically exquisite main hall. \u003ca href=\"http://gmc.sonoma.edu/event/2542386-kahane-swensen-brey-trio\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244239\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg\" alt=\"Vanessa Carlton.\" width=\"460\" height=\"282\" class=\"size-full wp-image-11244239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/vanessa-carlton-400x245.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Carlton.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Jan. 19: Vanessa Carlton at the Independent\u003c/strong>. Here’s a test. Ask yourself, “Do I know a Vanessa Carlton song?” If your answer is “no,” \u003ca href=\"https://www.youtube.com/watch?v=Cwkej79U3ek\" target=\"_blank\" rel=\"noopener\">click right here\u003c/a> and feel the wave of recognition wash over you. “A Thousand Miles,” from 2000, is the type of song that’s still played on radio stations and dentist’s office’s P.A. systems nationwide. Carlton’s come a long way from that albatross of a hit — in fact, to obtain her current recording contract, she sent anonymous demos to the record company so as not to cloud the music with preconceived notions of a former teen pop star. The result is \u003cem>Liberman\u003c/em>, an album that showcases Carlton’s maturity — she recently married Deer Tick frontman John McCauley III and became a mom — and ever-emotive voice. \u003ca href=\"http://www.apeconcerts.com/event/1004873-vanessa-carlton-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11244241\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg\" alt=\"Lupe Fiasco.\" width=\"460\" height=\"266\" class=\"size-full wp-image-11244241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lupe_mezzsite-400x231.jpg 400w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Lupe Fiasco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20: Lupe Fiasco at the Mezzanine\u003c/strong>. It’s been almost 10 years since Chicago rapper Lupe Fiasco’s breakout debut, \u003cem>Food & Liquor\u003c/em>, and hip-hop from the Windy City has undergone major transformations since — most notably the rise of Chief Keef’s drill-style hip-hop and Chance the Rapper’s live-jazz collaborations. Fiasco’s new album, \u003cem>Tetsuo & Youth\u003c/em>, is based on his upbringing in Chicago, and it’s as conscious-minded and political as ever. \u003ca href=\"http://mezzaninesf.com/events/lupe-fiasco-tour-for-the-fans/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Watch Adele Nail a Spice Girls Classic and Nicki Minaj's \"Monster\" Verse",
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"content": "\u003cp>Late night TV is a crowded field, but James Corden keeps grabbing our attention with silly bits like car karaoke, in which he picks up a super famous singer, drives them around and forces them to sing their own songs with him. I didn't think anyone could top the vocals from \u003ca href=\"https://www.youtube.com/watch?v=nGze8bbBQ-A\" target=\"_blank\">Jennifer Hudson's ride-along\u003c/a>, yet here we are. Adele hops in and flawlessly performs her own singles (obvi), but then goes the extra mile and aces the Spice Girls' \"Wannabe\" and the coup de grace Nicki Minaj's entire verse from \"Monster.\" It's truly something to behold:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nck6BZga7TQ\u003c/p>\n\u003cp>And in case you're wondering what Nicki thinks of all this, she's loving it just as much as we are:\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/687521370385743872\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Nicki's verdict on Adele's rendition of her verse: \"Pull thru, QUEEN!!!!!!\" Ditto.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late night TV is a crowded field, but James Corden keeps grabbing our attention with silly bits like car karaoke, in which he picks up a super famous singer, drives them around and forces them to sing their own songs with him. I didn't think anyone could top the vocals from \u003ca href=\"https://www.youtube.com/watch?v=nGze8bbBQ-A\" target=\"_blank\">Jennifer Hudson's ride-along\u003c/a>, yet here we are. Adele hops in and flawlessly performs her own singles (obvi), but then goes the extra mile and aces the Spice Girls' \"Wannabe\" and the coup de grace Nicki Minaj's entire verse from \"Monster.\" It's truly something to behold:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Nck6BZga7TQ'\n title='//www.youtube.com/embed/Nck6BZga7TQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And in case you're wondering what Nicki thinks of all this, she's loving it just as much as we are:\u003c/p>\u003c/p>\u003c/div>",
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"title": "(Almost) Everything You'll See on Peter Coyote's Haight-Ashbury Walking Tour",
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"content": "\u003cp>When I’d heard that \u003ca href=\"https://www.detour.com/\" target=\"_blank\" rel=\"noopener\">Detour\u003c/a> had created a \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">walking tour of the Haight-Ashbury\u003c/a>, I was instantly dubious.\u003c/p>\n\u003cp>Part of it is my wariness of tech’s often unfulfilled promise to create a rich, human experience; Detour is an app that offers tours of neighborhoods, narrated by notable figures and experienced through one’s GPS-enabled smartphone. But a larger part is that, as a child of the 1980s, hearing Boomers wax rhapsodic about San Francisco’s rock revolution of the 1960s being The Most Important Thing To Happen In The World Ever has become, well, a weary thing. How many times can someone hear the same stories about Janis Joplin, the Jefferson Airplane and the Grateful Dead?\u003c/p>\n\u003cp>I’m here to tell you that my hesitation was unwarranted, and for a simple reason: Peter Coyote, the tour’s host, who provides a firsthand account of the neighborhood without the back-patting and self-serving revisionist history so prevalent in reminiscences of 1960s-era Haight-Ashbury. (In a \u003ca href=\"http://blog.detour.com/request-for-pitches/\" target=\"_blank\" rel=\"noopener\">call for pitches last year\u003c/a>, Detour asked specifically for “something even hippy-haters would love,” and while Coyote certainly has personal anecdotes galore, he sufficiently distances himself from nostalgia on the tour (which, full disclosure, is presented by KQED)). He also focuses less on the well-trampled underground rock scene, and more on the noble ideals of he and his LBJ-era peers. And, importantly, this is one of those rare times that an app truly delivers on the “human connection” promise — visitors have the sensation that Coyote is walking right alongside them.\u003c/p>\n\u003cfigure id=\"attachment_11241706\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg\" alt=\"Haight Street.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11241706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Haight Street.\u003c/figcaption>\u003c/figure>\n\u003cp>On his old stomping grounds — Coyote was an early member of the \u003ca href=\"https://en.wikipedia.org/wiki/Diggers_%28theater%29\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Mime_Troupe\" target=\"_blank\" rel=\"noopener\">San Francisco Mime Troupe\u003c/a> — he evaluates the Haight’s accomplishments realistically and talks honestly about the seedy underbelly of the era. Coyote has fun with the app’s technical possibilities too; after an intro about \u003ca href=\"https://foursquare.com/v/susan-j-bierman-memorial-benches/526d9ae111d256e38ca64e4c\" target=\"_blank\" rel=\"noopener\">Sue Bierman\u003c/a> and her fight against the plans for a freeway running through the panhandle, where Jimi Hendrix performed and where the SF Mime Troupe began, he asks me to cross the street. “And don’t get run over,” he says while I’m in the middle of the crosswalk, “or you’ll miss how it turns out.” \u003c/p>\n\u003cp>Here’s a peek into how it turns out. I won’t give away everything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Coyote introduces the neighborhood by talking about the artists priced out of North Beach who flocked there in the early 1960s, and of their homes overrun with visitors, “doors wide open,” welcoming to all. As I walk up Cole Street, right at this part, I notice a very different type of welcome here in 2016. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg\" alt=\"NoTress\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Around the corner, I’m brought to the former site of the Free Store, an operation located inside a garage where everything was free — “You could even get a free new identity here,” Coyote says, explaining the site’s draft-card ring for those who wished to leave their white collared shirts on the rack and disappear into the Haight. (There’s a great story here about the birth of tie-dye, too.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg\" alt=\"FreeSTore\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tour asks visitors to bring along a small object, and a small metal box in front of the house is the reason why. The current residents have agreed to this tiny re-creation of the free store, where visitors are given the combination to the box and trade their small item for another. It’s marvelous, really. As I was crouched down, the mailman mistook me for the owner of the house and tried to hand me the mail. Then Peter Coyote told me about the time that Fish & Game offered the Free Store a 1,500-lb. whale (they accepted).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg\" alt=\"FreeBox\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>Up Ashbury, after Coyote bemoans the way \u003cem>Chronicle\u003c/em> columnist Herb Caen “infantilized us” by coining the term “hippie,” I come to Janis Joplin’s old house.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg\" alt=\"JanisHouse\" width=\"451\" height=\"600\" class=\"aligncenter size-medium wp-image-11241708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse.jpg 600w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Coyote explains he was friends with Joplin, drug partners, lovers, even; he spends as much time on her as he spends on a woman who was thrown off a roof in a drug deal gone bad, up the street at 719 Ashbury, right across from the Grateful Dead’s old house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg\" alt=\"DeadHouse\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Taking LSD is like taking a helicopter ride to the edge of the Grand Canyon,” Coyote says, by way of getting into the drug casualties, overdoses, theft and other elements that riddled the scene. He returns to this later, but now it’s time to head into the Haight-Ashbury Music Center. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg\" alt=\"MusicStore\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Yes, you walk into the store, and ask the clerk to go into the back room. At this point Coyote hands the tour over to Mary Gannon Alfiler, former bassist for the band Ace of Cups, who tells great stories about how sexist the rock industry was in the ’60s, including her timeless response to a request to play topless. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg\" alt=\"AceCups\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>I’m also directed into Booksmith, where I get to ask the friendly girl behind the counter for a book of Jim Marshall’s photographs of the neighborhood. I also get to sit at this fine desk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg\" alt=\"Booksmith\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Do you see any street kids around?” Coyote asks me, and sure enough, three dreadlocked teens in backbacks walk by holding a sign that reads “Just Passing Thru / Love You / Spare a Few.” He directs my attention to Huckleberry House, the homeless center still in operation to this day, before guiding me to the exterior of the Haight-Ashbury Free Clinic. There, founder \u003ca href=\"https://en.wikipedia.org/wiki/David_E._Smith\" target=\"_blank\" rel=\"noopener\">Dr. Dave\u003c/a> tells me, “We would treat over 100 heroin addicts a day.” The sign once posted on the door at its original opening is replicated anew.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg\" alt=\"FreeCLinicDoor\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Coyote mentions the iconography that now represents his era: the abundance in the neighborhood of smiley faces, peace signs, and dead rock stars. “They just don’t line up with my vision of what the scene was,” he says, “and what we set out to accomplish.” Particular notice is given to the presence of George Harrison on a tall mural; George Harrison called the Haight “terrible,” Coyote says, and stopped taking LSD after visiting San Francisco and seeing what it’d done. And now he’s on a mural here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/George-798x600.jpg\" alt=\"George\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>But Coyote allows some pride for what he and his fellow Haight residents accomplished. Not for having revolutionized the world, but for, as he puts it, while I stand in a patio behind Jimi Hendrix’s old place, “moving the cultural needle.” The idea that women should be treated equally, the idea that medical care should be available to all, the idea that healthy food should be in steady supply — “the fact that these victories seem unremarkable,” he says, “well, that’s the best victory of all. They’re \u003cem>normal\u003c/em> now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Detour’s suite of San Francisco tours is $24.99, and \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">available here\u003c/a>. Tours in the package include “The Castro,” “The Tenderloin,” “The Beat Generation,” “Fisherman’s Wharf,” “Cool Gray City,” “Architecture,” “Beyond the Painted Ladies” and more; “Haight-Ashbury” is presented by KQED. \u003ca href=\"http://www.petercoyote.com/\" target=\"_blank\" rel=\"noopener\">Peter Coyote\u003c/a> can be seen in the Mandy Moore classic ‘A Walk to Remember’ and in the courtroom drama ‘Jagged Edge,’ among over 120 other feature-length films.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I’d heard that \u003ca href=\"https://www.detour.com/\" target=\"_blank\" rel=\"noopener\">Detour\u003c/a> had created a \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">walking tour of the Haight-Ashbury\u003c/a>, I was instantly dubious.\u003c/p>\n\u003cp>Part of it is my wariness of tech’s often unfulfilled promise to create a rich, human experience; Detour is an app that offers tours of neighborhoods, narrated by notable figures and experienced through one’s GPS-enabled smartphone. But a larger part is that, as a child of the 1980s, hearing Boomers wax rhapsodic about San Francisco’s rock revolution of the 1960s being The Most Important Thing To Happen In The World Ever has become, well, a weary thing. How many times can someone hear the same stories about Janis Joplin, the Jefferson Airplane and the Grateful Dead?\u003c/p>\n\u003cp>I’m here to tell you that my hesitation was unwarranted, and for a simple reason: Peter Coyote, the tour’s host, who provides a firsthand account of the neighborhood without the back-patting and self-serving revisionist history so prevalent in reminiscences of 1960s-era Haight-Ashbury. (In a \u003ca href=\"http://blog.detour.com/request-for-pitches/\" target=\"_blank\" rel=\"noopener\">call for pitches last year\u003c/a>, Detour asked specifically for “something even hippy-haters would love,” and while Coyote certainly has personal anecdotes galore, he sufficiently distances himself from nostalgia on the tour (which, full disclosure, is presented by KQED)). He also focuses less on the well-trampled underground rock scene, and more on the noble ideals of he and his LBJ-era peers. And, importantly, this is one of those rare times that an app truly delivers on the “human connection” promise — visitors have the sensation that Coyote is walking right alongside them.\u003c/p>\n\u003cfigure id=\"attachment_11241706\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg\" alt=\"Haight Street.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11241706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Haight Street.\u003c/figcaption>\u003c/figure>\n\u003cp>On his old stomping grounds — Coyote was an early member of the \u003ca href=\"https://en.wikipedia.org/wiki/Diggers_%28theater%29\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Mime_Troupe\" target=\"_blank\" rel=\"noopener\">San Francisco Mime Troupe\u003c/a> — he evaluates the Haight’s accomplishments realistically and talks honestly about the seedy underbelly of the era. Coyote has fun with the app’s technical possibilities too; after an intro about \u003ca href=\"https://foursquare.com/v/susan-j-bierman-memorial-benches/526d9ae111d256e38ca64e4c\" target=\"_blank\" rel=\"noopener\">Sue Bierman\u003c/a> and her fight against the plans for a freeway running through the panhandle, where Jimi Hendrix performed and where the SF Mime Troupe began, he asks me to cross the street. “And don’t get run over,” he says while I’m in the middle of the crosswalk, “or you’ll miss how it turns out.” \u003c/p>\n\u003cp>Here’s a peek into how it turns out. I won’t give away everything.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coyote introduces the neighborhood by talking about the artists priced out of North Beach who flocked there in the early 1960s, and of their homes overrun with visitors, “doors wide open,” welcoming to all. As I walk up Cole Street, right at this part, I notice a very different type of welcome here in 2016. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg\" alt=\"NoTress\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Around the corner, I’m brought to the former site of the Free Store, an operation located inside a garage where everything was free — “You could even get a free new identity here,” Coyote says, explaining the site’s draft-card ring for those who wished to leave their white collared shirts on the rack and disappear into the Haight. (There’s a great story here about the birth of tie-dye, too.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg\" alt=\"FreeSTore\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tour asks visitors to bring along a small object, and a small metal box in front of the house is the reason why. The current residents have agreed to this tiny re-creation of the free store, where visitors are given the combination to the box and trade their small item for another. It’s marvelous, really. As I was crouched down, the mailman mistook me for the owner of the house and tried to hand me the mail. Then Peter Coyote told me about the time that Fish & Game offered the Free Store a 1,500-lb. whale (they accepted).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg\" alt=\"FreeBox\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>Up Ashbury, after Coyote bemoans the way \u003cem>Chronicle\u003c/em> columnist Herb Caen “infantilized us” by coining the term “hippie,” I come to Janis Joplin’s old house.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg\" alt=\"JanisHouse\" width=\"451\" height=\"600\" class=\"aligncenter size-medium wp-image-11241708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse.jpg 600w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Coyote explains he was friends with Joplin, drug partners, lovers, even; he spends as much time on her as he spends on a woman who was thrown off a roof in a drug deal gone bad, up the street at 719 Ashbury, right across from the Grateful Dead’s old house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg\" alt=\"DeadHouse\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Taking LSD is like taking a helicopter ride to the edge of the Grand Canyon,” Coyote says, by way of getting into the drug casualties, overdoses, theft and other elements that riddled the scene. He returns to this later, but now it’s time to head into the Haight-Ashbury Music Center. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg\" alt=\"MusicStore\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Yes, you walk into the store, and ask the clerk to go into the back room. At this point Coyote hands the tour over to Mary Gannon Alfiler, former bassist for the band Ace of Cups, who tells great stories about how sexist the rock industry was in the ’60s, including her timeless response to a request to play topless. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg\" alt=\"AceCups\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>I’m also directed into Booksmith, where I get to ask the friendly girl behind the counter for a book of Jim Marshall’s photographs of the neighborhood. I also get to sit at this fine desk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg\" alt=\"Booksmith\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Do you see any street kids around?” Coyote asks me, and sure enough, three dreadlocked teens in backbacks walk by holding a sign that reads “Just Passing Thru / Love You / Spare a Few.” He directs my attention to Huckleberry House, the homeless center still in operation to this day, before guiding me to the exterior of the Haight-Ashbury Free Clinic. There, founder \u003ca href=\"https://en.wikipedia.org/wiki/David_E._Smith\" target=\"_blank\" rel=\"noopener\">Dr. Dave\u003c/a> tells me, “We would treat over 100 heroin addicts a day.” The sign once posted on the door at its original opening is replicated anew.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg\" alt=\"FreeCLinicDoor\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Coyote mentions the iconography that now represents his era: the abundance in the neighborhood of smiley faces, peace signs, and dead rock stars. “They just don’t line up with my vision of what the scene was,” he says, “and what we set out to accomplish.” Particular notice is given to the presence of George Harrison on a tall mural; George Harrison called the Haight “terrible,” Coyote says, and stopped taking LSD after visiting San Francisco and seeing what it’d done. And now he’s on a mural here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/George-798x600.jpg\" alt=\"George\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>But Coyote allows some pride for what he and his fellow Haight residents accomplished. Not for having revolutionized the world, but for, as he puts it, while I stand in a patio behind Jimi Hendrix’s old place, “moving the cultural needle.” The idea that women should be treated equally, the idea that medical care should be available to all, the idea that healthy food should be in steady supply — “the fact that these victories seem unremarkable,” he says, “well, that’s the best victory of all. They’re \u003cem>normal\u003c/em> now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Detour’s suite of San Francisco tours is $24.99, and \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">available here\u003c/a>. Tours in the package include “The Castro,” “The Tenderloin,” “The Beat Generation,” “Fisherman’s Wharf,” “Cool Gray City,” “Architecture,” “Beyond the Painted Ladies” and more; “Haight-Ashbury” is presented by KQED. \u003ca href=\"http://www.petercoyote.com/\" target=\"_blank\" rel=\"noopener\">Peter Coyote\u003c/a> can be seen in the Mandy Moore classic ‘A Walk to Remember’ and in the courtroom drama ‘Jagged Edge,’ among over 120 other feature-length films.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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