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"content": "\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. 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She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238197469\" 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>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jxCN-trcvu0\u003c/p>\n\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N3xVOB-HcMs\u003c/p>\n\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/238197469&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/238197469'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\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/jxCN-trcvu0'\n title='//www.youtube.com/embed/jxCN-trcvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\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/N3xVOB-HcMs'\n title='//www.youtube.com/embed/N3xVOB-HcMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "top-25-albums-of-2015",
"title": "Listening to the Year: Your Music Editor's Top 25 Albums of 2015",
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"content": "\u003cp>I turned 40 this year, and instead of throwing in the towel and giving up on new music, I found that I sought out more new sounds than ever. I also put together a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/23/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music/\" target=\"_blank\" rel=\"noopener\">list of tips\u003c/a> for staying excited about new bands and artists, and organized a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">Commonwealth Club panel\u003c/a> about the ways we consume recorded music. All of this resulted in weekly surprises on my stereo.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Of the 25 albums I loved the most in 2015, most, I find, are mysteries that are a joy to unravel. I liked them all for different reasons, and sorting the top three, in particular, took weeks. For background reference, see my top album lists from the years \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">2014\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.\u003c/p>\n\u003cp>Here’s what I loved the most in 2015.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kehlani.jpg\" alt=\"Kehlani\" width=\"400\" height=\"400\">\n\u003ch3>1. Kehlani – \u003cem>You Should Be Here\u003c/em>\u003c/h3>\n\u003ch5>(Tsunami Mob/Self-Released)\u003c/h5>\n\u003cp>Originally released as a free download in April, Kehlani’s \u003cem>You Should Be Here\u003c/em> commanded exponential adoration throughout the year, not just from me but from a committed, growing base of fans. With an Oakland upbringing that wasn’t always easy — at a young age, her father was murdered, and later, her mother bounced in and out of jail with drug problems — Kehlani, age 20, brings a no-nonsense realism to her songwriting that feels intimate without being “confessional,” backed by music that feels wholly fresh without falling into the languid trap of “weird R&B.” Most of the songs on \u003cem>You Should Be Here\u003c/em> explore the tenuousness of relationships, be they with friends, lovers, or family: “Jealous” involves a boyfriend who won’t stop posting pictures of their dates, “How That Taste” indicts old friends who believed she wouldn’t make it, and “Bright” is a swing-rhythm affirming message of self-love for young girls and boys alike. But it’s “The Letter,” a song addressed to Kehlani’s absent mother, that cuts the deepest here. “And if you weren’t gonna guide me, why bring me into the light?” she sings, over a spare piano figure, “Must have done something to make you want to run and hide.” By the album’s end, “Alive” feels like jubilant release, a celebration of overcoming all that came before. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">saw her in July\u003c/a>, I witnessed a room full of young fans communing with one of their own in a way I haven’t seen in years. Kehlani is human. She’s honest. In many ways, this has been her year, and I love more songs on this album than any album I heard in 2015.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Future.jpg\" alt=\"Future\" width=\"400\" height=\"400\">\n\u003ch3>2. Future – \u003cem>DS2\u003c/em> (and \u003cem>56 Nights\u003c/em>)\u003c/h3>\n\u003ch5>(Freebandz/Epic)\u003c/h5>\n\u003cp>The sound of a lost soul pushing through the haze to grasp at any glimmer of light, Future’s \u003cem>DS2\u003c/em> is also the album I listened to more times than any other in 2015. (Make of the connection what you will.) Coming off a string of three mixtapes, and in the wake of his separation from Ciara, Future crafted his first official album since 2014’s \u003cem>Honest\u003c/em> as a delicate balancing act between turn-up mayhem and bubbling-under sorrow. \u003cem>DS2\u003c/em> has his detractors (“It’s terrible,” a colleague told me yesterday, “he’s just mumbling”), and taken at face value, Future’s references to codeine and liquor and sex seem like textbook rap braggadocio — until you listen for the fourth or fifth time and realize they’re escapist props in an ongoing drama against his inner demons. “Tried to make me a pop star, and they made a monster,” Future raps in his gutteral rasp, “I gave up on my conscience, gotta live with it.” The production throughout by Metro Boomin buzzes and clangs as the anxious clamor of the outside world, while Future rattles in his creaking monotone just trying to make it through intact. After the phenomenal mixtape \u003cem>\u003ca href=\"http://www.hotnewhiphop.com/future-and-dj-esco-56-nights-new-mixtape.115764.html\" target=\"_blank\" rel=\"noopener\">56 Nights\u003c/a>\u003c/em>, which yielded songs so resonant they were \u003ca href=\"https://www.youtube.com/watch?v=NktN7GMjNyg\" target=\"_blank\" rel=\"noopener\">covered by university marching bands\u003c/a>, I didn’t know how Future could outdo himself, but he did. I \u003ca href=\"https://twitter.com/MetroBoomin/status/625770497956036610\" target=\"_blank\" rel=\"noopener\">put this album on tape\u003c/a> and listened to it on repeat for months and got lost.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-1.jpg\" alt=\"Kendrick Lamar\" width=\"400\" height=\"400\">\n\u003ch3>3. Kendrick Lamar – \u003cem>To Pimp a Butterfly\u003c/em>\u003c/h3>\n\u003ch5>(Top Dawg/Interscope)\u003c/h5>\n\u003cp>We music writers arrange these dumb lists each year by many competing factors. While \u003cem>You Should Be Here\u003c/em> gave me the most hope and \u003cem>DS2\u003c/em> the most repeated listening, objectively \u003cem>To Pimp a Butterfly\u003c/em> is the hands-down album of the year. Riding high from \u003cem>good kid, m.A.A.d city\u003c/em>, Kendrick could have easily made an accessible follow-up with singalong hooks; instead, he employed wild jazz, crying spoken-word, swampy funk and \u003ca href=\"https://youtu.be/afk5PBBM-h8?t=4m27s\" target=\"_blank\" rel=\"noopener\">missives to Oprah about the n-word\u003c/a> into a record that \u003cem>sounds\u003c/em> like 2015 felt — anxious, reflective, confused, angry, and hopeful. Much in the same way film critics know “Oscar contender” when they see it, I walked into the office in March after being blown away by its sheer scope and immediately declared it the album of the year — simultaneously knowing that \u003ca href=\"https://twitter.com/gmeline/status/578280368890982400\" target=\"_blank\" rel=\"noopener\">it’d take a while to process\u003c/a>. The album sparked more serious conversation than any other, and in a year where names like Freddie Gray, Sandra Bland, Terrence Walker and Laquan McDonald populated our Facebook feeds, those conversations are necessary — even while, as I witnessed during his \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">performance at Outside Lands\u003c/a>, they occur in the midst of a giant unifying party. Everything about this album is ambitious: lyrically, musically, and in the ambition it has for all of us to be better. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CourtneyBarnett.jpg\" alt=\"Courtney Barnett\" width=\"400\" height=\"400\">\n\u003ch3>4. Courtney Barnett – \u003cem>Sometimes I Sit and Think, Sometimes I Just Sit\u003c/em>\u003c/h3>\n\u003ch5>(Mom + Pop)\u003c/h5>\n\u003cp>Artists do this thing sometimes where they try to sequence a record with a song for each mood, and they usually either fail or the record is unlistenable. \u003cem>Sometimes I Sit and Think\u003c/em> works for every mood, probably because its subject matter is so often seemingly mundane. “I stare at the lawn. It’s Wednesday morning. It needs a cut. But I’ll leave it growing,” opens the seven-minute dirge “Small Poppies” — and then Barnett launches into an indictment of an exploitative lover, a blood-curdling guitar solo, and the line “I used to hate myself but now I think I’m alright.” (The song is only two chords, over and over, a fact that took me months to notice.) But then there’s songs like “Depreston,” which are so evocative of sitting on the porch and drinking tea on an overcast morning that a strange calm comes over me each time I hear it. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">saw her play this summer\u003c/a>, her fingers skittered around the guitar like fireflies, somehow producing sound but decidedly \u003cem>not\u003c/em> in the usual way. Whenever I couldn’t decide what to put on the stereo at home, I reached for this record, and it never let me down.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KamasiWashington.jpg\" alt=\"Kamasi Washington\" width=\"400\" height=\"400\">\n\u003ch3>5. Kamasi Washington – \u003cem>The Epic\u003c/em>\u003c/h3>\n\u003ch5>(Brainfeeder)\u003c/h5>\n\u003cp>As a huge fan of the soaring spiritual jazz of the late 1960s and early 1970s, I balked when I heard that \u003cem>The Epic\u003c/em> was “just like an Impulse Records album from 1969.” But the assessment is correct. Revisiting eras of jazz can be dicey: when the new traditionalists of the 1980s led by Wynton Marsalis recreated early bebop, the effect felt like a tribute band. Washington succeeds in this appropriately-titled album (the thing’s almost three hours long) because, along with the sound, he captures the \u003cem>spirit\u003c/em> of a radical jazz revolution of fifty years ago. Probing into outer reaches of the possible, Washington’s 12-piece band is like a thunderstorm, and his compositions are rich and surprising. Released on the Brainfeeder label — home to progressive electronic acts like Flying Lotus and Thundercat — \u003cem>The Epic\u003c/em> has hence turned up on more indie-rock sites and lists than any other jazz record, a crossover album without the watered-down music normally associated with the term. Kudos to Washington for turning on a new generation to what Archie Shepp called “fire music”; this is heat, indeed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kreng.jpg\" alt=\"Kreng\" width=\"400\" height=\"400\">\n\u003ch3>6. Kreng – \u003cem>The Summoner\u003c/em>\u003c/h3>\n\u003ch5>(Miasmah)\u003c/h5>\n\u003cp>Pepijn Caudron is a modern Belgian composer whose career has been largely tied to the theatre; specifically, the dark surrealist company \u003ca href=\"http://abattoirferme.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Abattoir Fermé\u003c/a>, based in Mechelen. Recording under the name Kreng, his music has a highly visual quality not unlike Richard Strauss’ tone poems, meant to evoke specific scenes or events. Caudron lost three friends in 2014, all to suicide, and with \u003cem>Summoner\u003c/em> he writes a tone poem for the Kübler-Ross model, commonly known as the five stages of grief. Each track is named accordingly: Denial, Anger, Bargaining, Depression, and Acceptance, and the music matches these stages with alarming precision. “Denial,” for example, is a gloomy soundscape interrupted by occasional bursts of the small orchestra, fingers flailing on the strings and rattling percussion signaling a mourner’s confused realization that their loved one is gone. Within the stages, Kreng adds a sixth: “The Summoning,” which turns into a loud, guitar-drenched blast from doom-metal band Amenra, representative of “an imaginary last talk with my loved lost ones,” as Caudron \u003ca href=\"http://soundsofatiredcity.com/kreng-interview/\" target=\"_blank\" rel=\"noopener\">has stated\u003c/a>. “Acceptance,” a piano elegy, closes the cycle. If Strauss’ \u003cem>Death and Transformation\u003c/em> is about the stages of dying, \u003cem>The Summoner\u003c/em> is its sequel for the living left behind. Each time I listened to this album in 2015, it floored me.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VinceStaples.jpg\" alt=\"Vince Staples\" width=\"400\" height=\"400\">\n\u003ch3>7. Vince Staples – \u003cem>Summertime ’06\u003c/em>\u003c/h3>\n\u003ch5>(Def Jam)\u003c/h5>\n\u003cp>As a kid growing up in the 1980s, I had to hear adults tell me on a near-daily basis that the rock revolution of the 1960s was the greatest thing to happen in history, and that the invasion of rap was destroying music. I loved 1960s rock music, of course, but something seemed off, like the adults in my world hadn’t heeded their own hero’s advice that the times were a-changin’ and to get out of the new road if they can’t lend a hand. In 2015, of course, we have the next generation of this tiresome cycle instructing us that the so-called “golden era” of rap — the 1990s — is the best era of rap, and the Wolf Gangs and Young Thugs and Fetty Waps of the world are ruining everything. In October, Vince Staples had the guts to \u003ca href=\"http://time.com/4084942/vince-staples-90s-hip-hop-interview/\" target=\"_blank\" rel=\"noopener\">call out this remedial thinking\u003c/a> to \u003cem>Time\u003c/em> magazine, and was subsequently eviscerated for having the gall to be born the year before \u003cem>Ready to Die\u003c/em> came out. I rule in favor of Vince Staples, and his young fearlessness propels \u003cem>Summertime ’06\u003c/em>. In addition to Staples’ smart writing, the production by hip-hop veteran No I.D. knocks hard, bridging the generation gap. I listened to this album in the car and thought about being 22 and hungry.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Disasterpeace.jpg\" alt=\"Disasterpeace\" width=\"400\" height=\"400\">\n\u003ch3>8. Disasterpeace – \u003cem>It Follows OST\u003c/em>\u003c/h3>\n\u003ch5>(Milan)\u003c/h5>\n\u003cp>I ordinarily don’t place soundtracks on these lists, but then this is no ordinary soundtrack. Anyone who’s seen \u003cem>It Follows\u003c/em> knows how \u003ca href=\"https://www.youtube.com/watch?v=W2d4_TgwZQc\" target=\"_blank\" rel=\"noopener\">instrinsic the music is to the film\u003c/a>, the story of a sexually-transmitted virus that manifests intermittently in the form of a slowly pursuing naked body intent on killing its host. (It’s more psychologically harrowing than it sounds.) Scored by Disasterpeace, a.k.a. Berkeley musician Richard Vreeland, the soundtrack stands finely on its own, a combination of electronic pulses and surging, eerie wave forms that call to mind John Carpenter and Trent Reznor. Prior to the film, Vreeland primarily scored video games, and his 8-bit–inspired soundtrack to \u003cem>Fez\u003c/em> caught the attention of writer-director David Robert Mitchell. Interestingly, \u003cem>Fez\u003c/em> often sounds \u003ca href=\"https://www.youtube.com/watch?v=76GnOwHorn0\" target=\"_blank\" rel=\"noopener\">peppy and lively\u003c/a>, while \u003cem>It Follows\u003c/em> plunges head-on into darkness. Between Kreng and Disasterpeace, there’s two first-time film composers on this list. Here’s hoping they land future projects and get the attention they deserve.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SleaterKinney.jpg\" alt=\"Sleater Kinney\" width=\"400\" height=\"400\">\n\u003ch3>9. Sleater-Kinney – \u003cem>No Cities Left to Love\u003c/em>\u003c/h3>\n\u003ch5>(Sub Pop)\u003c/h5>\n\u003cp>I saw two reunion shows on Nob Hill this year: first, the Replacements, whose reunion was as improbable as it was majestic, and then, after a 10-year absence, Sleater-Kinney, who picked up as if nothing had happened since I last saw them in 2005 at the Great American Music Hall. Of course, plenty had happened (solo projects, \u003cem>Portlandia\u003c/em>, Wild Flag), and in a lot of ways, \u003cem>No Cities Left to Love\u003c/em> sounds like a band starting over again. In a distinct musical language Sleater-Kinney created during their original run, which culminated in the furiously creative 2005 album \u003cem>The Woods\u003c/em>, the songs here are relatively simple and straightforward. That’s not a bad thing, and they get stuck in my head more frequently than anything from \u003cem>The Woods\u003c/em>, much as I love that album too. I sometimes pride myself on not clinging to the music of my past, but I’ll admit that it’s just plain \u003cem>nice\u003c/em> to hear Sleater-Kinney again, and I believe the world is a better place with them around.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Miguel.jpg\" alt=\"Miguel\" width=\"400\" height=\"400\">\n\u003ch3>10. Miguel – \u003cem>Wildheart\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Miguel’s \u003cem>Kaleidoscope Dream\u003c/em> floored me so hard in 2012 that I bought a last-minute $100 ticket to see him \u003cem>open\u003c/em> for Trey Songz at the Oakland Arena, and friends, it was worth every cent. In the times I’ve seen the R&B singer since, he has a propensity for dazzling up his songs with so many musical rearrangements, drum fills, ad-libs and improvised melodies that the original songs are buried in showmanship. (Granted, it’s showmanship of the highest order, and comparisons to James Brown and Prince are not off the mark.) \u003cem>Wildheart\u003c/em> operates against that process, so intimate that when I first pressed play on album opener “A Beautiful Exit” I thought I must be hearing a demo recording. As evident from the cover, this is a hypersexual record (with “The Valley” and the fantastic “Waves”), but songs like “What’s Normal Anyway” speak to the struggle everyone faces to fit in, and “Hollywood Dreams” picks apart the quest for fame in L.A.’s parasitic atmosphere. I kept returning to \u003cem>Wildheart\u003c/em>, even though it isn’t \u003cem>Kaleidoscope Dream Pt. II\u003c/em> at all, and it’s precisely because of his ever-changing nature that it’s always exciting thinking about what Miguel will do next.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>More From the Year:\u003c/h2>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HollyHerndon.jpg\" alt=\"HollyHerndon\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>11. Holly Herndon – \u003cem>Platform\u003c/em>\u003c/h3>\n\u003cp>Scattered and glorious, an electronic pastiche of lost memories from yet another San Francisco artist who moved to L.A.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungThug.jpg\" alt=\"YoungThug\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>12. Young Thug – \u003cem>Barter 6, Slime Season 1 & 2\u003c/em>, the leaks, etc.\u003c/h3>\n\u003cp>When he’s on, he’s on (see Exhibits \u003ca href=\"https://www.youtube.com/watch?v=HCLT1aJLF4I\" target=\"_blank\" rel=\"noopener\">A\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=xzIGVKEGL1s\" target=\"_blank\" rel=\"noopener\">B\u003c/a>), and following his constant output is thrilling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FKATwigsEP.jpg\" alt=\"FKATwigsEP\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>13. FKA Twigs – \u003cem>M3LL155X\u003c/em>\u003c/h3>\n\u003cp>A natural continuation of \u003cem>LP1\u003c/em>, my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">favorite album of 2014\u003c/a>, it pushes all the boundaries beautifully.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ChanceSurf.jpg\" alt=\"ChanceSurf\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>14. Donnie Trumpet & the Social Experiment – \u003cem>Surf\u003c/em>\u003c/h3>\n\u003cp>Chance the Rapper gives his band the spotlight, with “\u003ca href=\"https://www.youtube.com/watch?v=KMPTDBbsPnc\" target=\"_blank\" rel=\"noopener\">Wanna Be Cool\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=i4ooH8frBWg\" target=\"_blank\" rel=\"noopener\">Sunday Candy\u003c/a>,” songs your mama could love.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vijay.jpg\" alt=\"Vijay\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>15. Vijay Iyer – \u003cem>Break Stuff\u003c/em>\u003c/h3>\n\u003cp>Drawing inspiration from techno and hip-hop, Iyer explores the “break” and applies it to his fantastic trio.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FettyWap.jpg\" alt=\"FettyWap\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>16. Fetty Wap – \u003cem>Fetty Wap\u003c/em>\u003c/h3>\n\u003cp>No one could escape these songs in 2015 (“Trap Queen,” “My Way,” “679,” “Again”), but I swear, I never got sick of hearing them.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DrYenLo.jpg\" alt=\"DrYenLo\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>17. Dr. Yen Lo – \u003cem>Days With Dr. Yen Lo\u003c/em>\u003c/h3>\n\u003cp>A rapper/firefighter from Brooklyn who toned down his already-subdued hip-hop sound for this near-drumless album.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CecileMclorin.jpg\" alt=\"CecileMclorin\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>18. Cécile McLorin Salvant – \u003cem>For One to Love\u003c/em>\u003c/h3>\n\u003cp>A tremendous jazz vocalist who’s not afraid to wear her influences on her sleeve, with unexpected song choices arranged vividly.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"EzraFurman\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>19. Ezra Furman – \u003cem>Perpetual Motion People\u003c/em>\u003c/h3>\n\u003cp>Simple rock ‘n’ roll, one of the more memorable live shows I saw this year, and “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>” is a Violent Femmes-meets-Phil Spector gem.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CarlyRae.jpg\" alt=\"CarlyRae\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>20. Carly Rae Jepsen – \u003cem>E.mo.tion\u003c/em>\u003c/h3>\n\u003cp>Justin Bieber, Selena Gomez and Demi Lovato all had great singles in 2015, but Carly Rae Jepsen intentionally created a pop \u003cem>album\u003c/em>, and it’s easily lovable.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaxRichter.jpg\" alt=\"MaxRichter\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>21. Max Richter – \u003cem>From Sleep\u003c/em>\u003c/h3>\n\u003cp>Richter wrote an eight-hour piece of music to be played while sleeping; the one-hour excerpt is enough, and sublime.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JamieXX.jpg\" alt=\"JamieXX\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>22. Jamie XX – \u003cem>In Colour\u003c/em>\u003c/h3>\n\u003cp>Not as revelatory as his \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/We're_New_Here\" target=\"_blank\" rel=\"noopener\">We’re New Here\u003c/a>\u003c/em> instrumentals, but rich and rewarding throughout, especially during “\u003ca href=\"https://www.youtube.com/watch?v=BjLBB-TMa84\" target=\"_blank\" rel=\"noopener\">Good Times\u003c/a>.”\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Helm.jpg\" alt=\"Helm\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>23. Helm – \u003cem>Olympic Mess\u003c/em>\u003c/h3>\n\u003cp>I can’t begin to understand the mind that creates this jagged noise, but I’ve loved everything it’s produced.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BadPlus.jpg\" alt=\"BadPlus\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>24. The Bad Plus and Joshua Redman – \u003cem>The Bad Plus Joshua Redman\u003c/em>\u003c/h3>\n\u003cp>I love the Bad Plus, and the daring jazz trio pushed Redman so far here that a lone solo of his got \u003ca href=\"http://ww2.kqed.org/arts/2015/12/07/bay-area-artists-with-2016-grammy-nominations/\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mansion.jpg\" alt=\"Mansion\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>25. Mansion – \u003cem>Early Life\u003c/em>\u003c/h3>\n\u003cp>Skittering post-punk in the vein of LiLiPUT or Gang of Four from the heart of Oakland, Calif., with Candace Lazarou’s vocal delivery causing chills.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From Oakland R&B and Atlanta hip-hop to Australian indie rock and Belgian classical tone poems, KQED Arts' Music Editor Gabe Meline picks his top albums of 2015.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I turned 40 this year, and instead of throwing in the towel and giving up on new music, I found that I sought out more new sounds than ever. I also put together a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/23/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music/\" target=\"_blank\" rel=\"noopener\">list of tips\u003c/a> for staying excited about new bands and artists, and organized a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">Commonwealth Club panel\u003c/a> about the ways we consume recorded music. All of this resulted in weekly surprises on my stereo.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Of the 25 albums I loved the most in 2015, most, I find, are mysteries that are a joy to unravel. I liked them all for different reasons, and sorting the top three, in particular, took weeks. For background reference, see my top album lists from the years \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">2014\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.\u003c/p>\n\u003cp>Here’s what I loved the most in 2015.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kehlani.jpg\" alt=\"Kehlani\" width=\"400\" height=\"400\">\n\u003ch3>1. Kehlani – \u003cem>You Should Be Here\u003c/em>\u003c/h3>\n\u003ch5>(Tsunami Mob/Self-Released)\u003c/h5>\n\u003cp>Originally released as a free download in April, Kehlani’s \u003cem>You Should Be Here\u003c/em> commanded exponential adoration throughout the year, not just from me but from a committed, growing base of fans. With an Oakland upbringing that wasn’t always easy — at a young age, her father was murdered, and later, her mother bounced in and out of jail with drug problems — Kehlani, age 20, brings a no-nonsense realism to her songwriting that feels intimate without being “confessional,” backed by music that feels wholly fresh without falling into the languid trap of “weird R&B.” Most of the songs on \u003cem>You Should Be Here\u003c/em> explore the tenuousness of relationships, be they with friends, lovers, or family: “Jealous” involves a boyfriend who won’t stop posting pictures of their dates, “How That Taste” indicts old friends who believed she wouldn’t make it, and “Bright” is a swing-rhythm affirming message of self-love for young girls and boys alike. But it’s “The Letter,” a song addressed to Kehlani’s absent mother, that cuts the deepest here. “And if you weren’t gonna guide me, why bring me into the light?” she sings, over a spare piano figure, “Must have done something to make you want to run and hide.” By the album’s end, “Alive” feels like jubilant release, a celebration of overcoming all that came before. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">saw her in July\u003c/a>, I witnessed a room full of young fans communing with one of their own in a way I haven’t seen in years. Kehlani is human. She’s honest. In many ways, this has been her year, and I love more songs on this album than any album I heard in 2015.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Future.jpg\" alt=\"Future\" width=\"400\" height=\"400\">\n\u003ch3>2. Future – \u003cem>DS2\u003c/em> (and \u003cem>56 Nights\u003c/em>)\u003c/h3>\n\u003ch5>(Freebandz/Epic)\u003c/h5>\n\u003cp>The sound of a lost soul pushing through the haze to grasp at any glimmer of light, Future’s \u003cem>DS2\u003c/em> is also the album I listened to more times than any other in 2015. (Make of the connection what you will.) Coming off a string of three mixtapes, and in the wake of his separation from Ciara, Future crafted his first official album since 2014’s \u003cem>Honest\u003c/em> as a delicate balancing act between turn-up mayhem and bubbling-under sorrow. \u003cem>DS2\u003c/em> has his detractors (“It’s terrible,” a colleague told me yesterday, “he’s just mumbling”), and taken at face value, Future’s references to codeine and liquor and sex seem like textbook rap braggadocio — until you listen for the fourth or fifth time and realize they’re escapist props in an ongoing drama against his inner demons. “Tried to make me a pop star, and they made a monster,” Future raps in his gutteral rasp, “I gave up on my conscience, gotta live with it.” The production throughout by Metro Boomin buzzes and clangs as the anxious clamor of the outside world, while Future rattles in his creaking monotone just trying to make it through intact. After the phenomenal mixtape \u003cem>\u003ca href=\"http://www.hotnewhiphop.com/future-and-dj-esco-56-nights-new-mixtape.115764.html\" target=\"_blank\" rel=\"noopener\">56 Nights\u003c/a>\u003c/em>, which yielded songs so resonant they were \u003ca href=\"https://www.youtube.com/watch?v=NktN7GMjNyg\" target=\"_blank\" rel=\"noopener\">covered by university marching bands\u003c/a>, I didn’t know how Future could outdo himself, but he did. I \u003ca href=\"https://twitter.com/MetroBoomin/status/625770497956036610\" target=\"_blank\" rel=\"noopener\">put this album on tape\u003c/a> and listened to it on repeat for months and got lost.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-1.jpg\" alt=\"Kendrick Lamar\" width=\"400\" height=\"400\">\n\u003ch3>3. Kendrick Lamar – \u003cem>To Pimp a Butterfly\u003c/em>\u003c/h3>\n\u003ch5>(Top Dawg/Interscope)\u003c/h5>\n\u003cp>We music writers arrange these dumb lists each year by many competing factors. While \u003cem>You Should Be Here\u003c/em> gave me the most hope and \u003cem>DS2\u003c/em> the most repeated listening, objectively \u003cem>To Pimp a Butterfly\u003c/em> is the hands-down album of the year. Riding high from \u003cem>good kid, m.A.A.d city\u003c/em>, Kendrick could have easily made an accessible follow-up with singalong hooks; instead, he employed wild jazz, crying spoken-word, swampy funk and \u003ca href=\"https://youtu.be/afk5PBBM-h8?t=4m27s\" target=\"_blank\" rel=\"noopener\">missives to Oprah about the n-word\u003c/a> into a record that \u003cem>sounds\u003c/em> like 2015 felt — anxious, reflective, confused, angry, and hopeful. Much in the same way film critics know “Oscar contender” when they see it, I walked into the office in March after being blown away by its sheer scope and immediately declared it the album of the year — simultaneously knowing that \u003ca href=\"https://twitter.com/gmeline/status/578280368890982400\" target=\"_blank\" rel=\"noopener\">it’d take a while to process\u003c/a>. The album sparked more serious conversation than any other, and in a year where names like Freddie Gray, Sandra Bland, Terrence Walker and Laquan McDonald populated our Facebook feeds, those conversations are necessary — even while, as I witnessed during his \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">performance at Outside Lands\u003c/a>, they occur in the midst of a giant unifying party. Everything about this album is ambitious: lyrically, musically, and in the ambition it has for all of us to be better. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CourtneyBarnett.jpg\" alt=\"Courtney Barnett\" width=\"400\" height=\"400\">\n\u003ch3>4. Courtney Barnett – \u003cem>Sometimes I Sit and Think, Sometimes I Just Sit\u003c/em>\u003c/h3>\n\u003ch5>(Mom + Pop)\u003c/h5>\n\u003cp>Artists do this thing sometimes where they try to sequence a record with a song for each mood, and they usually either fail or the record is unlistenable. \u003cem>Sometimes I Sit and Think\u003c/em> works for every mood, probably because its subject matter is so often seemingly mundane. “I stare at the lawn. It’s Wednesday morning. It needs a cut. But I’ll leave it growing,” opens the seven-minute dirge “Small Poppies” — and then Barnett launches into an indictment of an exploitative lover, a blood-curdling guitar solo, and the line “I used to hate myself but now I think I’m alright.” (The song is only two chords, over and over, a fact that took me months to notice.) But then there’s songs like “Depreston,” which are so evocative of sitting on the porch and drinking tea on an overcast morning that a strange calm comes over me each time I hear it. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">saw her play this summer\u003c/a>, her fingers skittered around the guitar like fireflies, somehow producing sound but decidedly \u003cem>not\u003c/em> in the usual way. Whenever I couldn’t decide what to put on the stereo at home, I reached for this record, and it never let me down.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KamasiWashington.jpg\" alt=\"Kamasi Washington\" width=\"400\" height=\"400\">\n\u003ch3>5. Kamasi Washington – \u003cem>The Epic\u003c/em>\u003c/h3>\n\u003ch5>(Brainfeeder)\u003c/h5>\n\u003cp>As a huge fan of the soaring spiritual jazz of the late 1960s and early 1970s, I balked when I heard that \u003cem>The Epic\u003c/em> was “just like an Impulse Records album from 1969.” But the assessment is correct. Revisiting eras of jazz can be dicey: when the new traditionalists of the 1980s led by Wynton Marsalis recreated early bebop, the effect felt like a tribute band. Washington succeeds in this appropriately-titled album (the thing’s almost three hours long) because, along with the sound, he captures the \u003cem>spirit\u003c/em> of a radical jazz revolution of fifty years ago. Probing into outer reaches of the possible, Washington’s 12-piece band is like a thunderstorm, and his compositions are rich and surprising. Released on the Brainfeeder label — home to progressive electronic acts like Flying Lotus and Thundercat — \u003cem>The Epic\u003c/em> has hence turned up on more indie-rock sites and lists than any other jazz record, a crossover album without the watered-down music normally associated with the term. Kudos to Washington for turning on a new generation to what Archie Shepp called “fire music”; this is heat, indeed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kreng.jpg\" alt=\"Kreng\" width=\"400\" height=\"400\">\n\u003ch3>6. Kreng – \u003cem>The Summoner\u003c/em>\u003c/h3>\n\u003ch5>(Miasmah)\u003c/h5>\n\u003cp>Pepijn Caudron is a modern Belgian composer whose career has been largely tied to the theatre; specifically, the dark surrealist company \u003ca href=\"http://abattoirferme.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Abattoir Fermé\u003c/a>, based in Mechelen. Recording under the name Kreng, his music has a highly visual quality not unlike Richard Strauss’ tone poems, meant to evoke specific scenes or events. Caudron lost three friends in 2014, all to suicide, and with \u003cem>Summoner\u003c/em> he writes a tone poem for the Kübler-Ross model, commonly known as the five stages of grief. Each track is named accordingly: Denial, Anger, Bargaining, Depression, and Acceptance, and the music matches these stages with alarming precision. “Denial,” for example, is a gloomy soundscape interrupted by occasional bursts of the small orchestra, fingers flailing on the strings and rattling percussion signaling a mourner’s confused realization that their loved one is gone. Within the stages, Kreng adds a sixth: “The Summoning,” which turns into a loud, guitar-drenched blast from doom-metal band Amenra, representative of “an imaginary last talk with my loved lost ones,” as Caudron \u003ca href=\"http://soundsofatiredcity.com/kreng-interview/\" target=\"_blank\" rel=\"noopener\">has stated\u003c/a>. “Acceptance,” a piano elegy, closes the cycle. If Strauss’ \u003cem>Death and Transformation\u003c/em> is about the stages of dying, \u003cem>The Summoner\u003c/em> is its sequel for the living left behind. Each time I listened to this album in 2015, it floored me.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VinceStaples.jpg\" alt=\"Vince Staples\" width=\"400\" height=\"400\">\n\u003ch3>7. Vince Staples – \u003cem>Summertime ’06\u003c/em>\u003c/h3>\n\u003ch5>(Def Jam)\u003c/h5>\n\u003cp>As a kid growing up in the 1980s, I had to hear adults tell me on a near-daily basis that the rock revolution of the 1960s was the greatest thing to happen in history, and that the invasion of rap was destroying music. I loved 1960s rock music, of course, but something seemed off, like the adults in my world hadn’t heeded their own hero’s advice that the times were a-changin’ and to get out of the new road if they can’t lend a hand. In 2015, of course, we have the next generation of this tiresome cycle instructing us that the so-called “golden era” of rap — the 1990s — is the best era of rap, and the Wolf Gangs and Young Thugs and Fetty Waps of the world are ruining everything. In October, Vince Staples had the guts to \u003ca href=\"http://time.com/4084942/vince-staples-90s-hip-hop-interview/\" target=\"_blank\" rel=\"noopener\">call out this remedial thinking\u003c/a> to \u003cem>Time\u003c/em> magazine, and was subsequently eviscerated for having the gall to be born the year before \u003cem>Ready to Die\u003c/em> came out. I rule in favor of Vince Staples, and his young fearlessness propels \u003cem>Summertime ’06\u003c/em>. In addition to Staples’ smart writing, the production by hip-hop veteran No I.D. knocks hard, bridging the generation gap. I listened to this album in the car and thought about being 22 and hungry.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Disasterpeace.jpg\" alt=\"Disasterpeace\" width=\"400\" height=\"400\">\n\u003ch3>8. Disasterpeace – \u003cem>It Follows OST\u003c/em>\u003c/h3>\n\u003ch5>(Milan)\u003c/h5>\n\u003cp>I ordinarily don’t place soundtracks on these lists, but then this is no ordinary soundtrack. Anyone who’s seen \u003cem>It Follows\u003c/em> knows how \u003ca href=\"https://www.youtube.com/watch?v=W2d4_TgwZQc\" target=\"_blank\" rel=\"noopener\">instrinsic the music is to the film\u003c/a>, the story of a sexually-transmitted virus that manifests intermittently in the form of a slowly pursuing naked body intent on killing its host. (It’s more psychologically harrowing than it sounds.) Scored by Disasterpeace, a.k.a. Berkeley musician Richard Vreeland, the soundtrack stands finely on its own, a combination of electronic pulses and surging, eerie wave forms that call to mind John Carpenter and Trent Reznor. Prior to the film, Vreeland primarily scored video games, and his 8-bit–inspired soundtrack to \u003cem>Fez\u003c/em> caught the attention of writer-director David Robert Mitchell. Interestingly, \u003cem>Fez\u003c/em> often sounds \u003ca href=\"https://www.youtube.com/watch?v=76GnOwHorn0\" target=\"_blank\" rel=\"noopener\">peppy and lively\u003c/a>, while \u003cem>It Follows\u003c/em> plunges head-on into darkness. Between Kreng and Disasterpeace, there’s two first-time film composers on this list. Here’s hoping they land future projects and get the attention they deserve.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SleaterKinney.jpg\" alt=\"Sleater Kinney\" width=\"400\" height=\"400\">\n\u003ch3>9. Sleater-Kinney – \u003cem>No Cities Left to Love\u003c/em>\u003c/h3>\n\u003ch5>(Sub Pop)\u003c/h5>\n\u003cp>I saw two reunion shows on Nob Hill this year: first, the Replacements, whose reunion was as improbable as it was majestic, and then, after a 10-year absence, Sleater-Kinney, who picked up as if nothing had happened since I last saw them in 2005 at the Great American Music Hall. Of course, plenty had happened (solo projects, \u003cem>Portlandia\u003c/em>, Wild Flag), and in a lot of ways, \u003cem>No Cities Left to Love\u003c/em> sounds like a band starting over again. In a distinct musical language Sleater-Kinney created during their original run, which culminated in the furiously creative 2005 album \u003cem>The Woods\u003c/em>, the songs here are relatively simple and straightforward. That’s not a bad thing, and they get stuck in my head more frequently than anything from \u003cem>The Woods\u003c/em>, much as I love that album too. I sometimes pride myself on not clinging to the music of my past, but I’ll admit that it’s just plain \u003cem>nice\u003c/em> to hear Sleater-Kinney again, and I believe the world is a better place with them around.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Miguel.jpg\" alt=\"Miguel\" width=\"400\" height=\"400\">\n\u003ch3>10. Miguel – \u003cem>Wildheart\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Miguel’s \u003cem>Kaleidoscope Dream\u003c/em> floored me so hard in 2012 that I bought a last-minute $100 ticket to see him \u003cem>open\u003c/em> for Trey Songz at the Oakland Arena, and friends, it was worth every cent. In the times I’ve seen the R&B singer since, he has a propensity for dazzling up his songs with so many musical rearrangements, drum fills, ad-libs and improvised melodies that the original songs are buried in showmanship. (Granted, it’s showmanship of the highest order, and comparisons to James Brown and Prince are not off the mark.) \u003cem>Wildheart\u003c/em> operates against that process, so intimate that when I first pressed play on album opener “A Beautiful Exit” I thought I must be hearing a demo recording. As evident from the cover, this is a hypersexual record (with “The Valley” and the fantastic “Waves”), but songs like “What’s Normal Anyway” speak to the struggle everyone faces to fit in, and “Hollywood Dreams” picks apart the quest for fame in L.A.’s parasitic atmosphere. I kept returning to \u003cem>Wildheart\u003c/em>, even though it isn’t \u003cem>Kaleidoscope Dream Pt. II\u003c/em> at all, and it’s precisely because of his ever-changing nature that it’s always exciting thinking about what Miguel will do next.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>More From the Year:\u003c/h2>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HollyHerndon.jpg\" alt=\"HollyHerndon\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>11. Holly Herndon – \u003cem>Platform\u003c/em>\u003c/h3>\n\u003cp>Scattered and glorious, an electronic pastiche of lost memories from yet another San Francisco artist who moved to L.A.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungThug.jpg\" alt=\"YoungThug\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>12. Young Thug – \u003cem>Barter 6, Slime Season 1 & 2\u003c/em>, the leaks, etc.\u003c/h3>\n\u003cp>When he’s on, he’s on (see Exhibits \u003ca href=\"https://www.youtube.com/watch?v=HCLT1aJLF4I\" target=\"_blank\" rel=\"noopener\">A\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=xzIGVKEGL1s\" target=\"_blank\" rel=\"noopener\">B\u003c/a>), and following his constant output is thrilling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FKATwigsEP.jpg\" alt=\"FKATwigsEP\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>13. FKA Twigs – \u003cem>M3LL155X\u003c/em>\u003c/h3>\n\u003cp>A natural continuation of \u003cem>LP1\u003c/em>, my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">favorite album of 2014\u003c/a>, it pushes all the boundaries beautifully.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ChanceSurf.jpg\" alt=\"ChanceSurf\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>14. Donnie Trumpet & the Social Experiment – \u003cem>Surf\u003c/em>\u003c/h3>\n\u003cp>Chance the Rapper gives his band the spotlight, with “\u003ca href=\"https://www.youtube.com/watch?v=KMPTDBbsPnc\" target=\"_blank\" rel=\"noopener\">Wanna Be Cool\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=i4ooH8frBWg\" target=\"_blank\" rel=\"noopener\">Sunday Candy\u003c/a>,” songs your mama could love.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vijay.jpg\" alt=\"Vijay\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>15. Vijay Iyer – \u003cem>Break Stuff\u003c/em>\u003c/h3>\n\u003cp>Drawing inspiration from techno and hip-hop, Iyer explores the “break” and applies it to his fantastic trio.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FettyWap.jpg\" alt=\"FettyWap\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>16. Fetty Wap – \u003cem>Fetty Wap\u003c/em>\u003c/h3>\n\u003cp>No one could escape these songs in 2015 (“Trap Queen,” “My Way,” “679,” “Again”), but I swear, I never got sick of hearing them.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DrYenLo.jpg\" alt=\"DrYenLo\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>17. Dr. Yen Lo – \u003cem>Days With Dr. Yen Lo\u003c/em>\u003c/h3>\n\u003cp>A rapper/firefighter from Brooklyn who toned down his already-subdued hip-hop sound for this near-drumless album.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CecileMclorin.jpg\" alt=\"CecileMclorin\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>18. Cécile McLorin Salvant – \u003cem>For One to Love\u003c/em>\u003c/h3>\n\u003cp>A tremendous jazz vocalist who’s not afraid to wear her influences on her sleeve, with unexpected song choices arranged vividly.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"EzraFurman\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>19. Ezra Furman – \u003cem>Perpetual Motion People\u003c/em>\u003c/h3>\n\u003cp>Simple rock ‘n’ roll, one of the more memorable live shows I saw this year, and “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>” is a Violent Femmes-meets-Phil Spector gem.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CarlyRae.jpg\" alt=\"CarlyRae\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>20. Carly Rae Jepsen – \u003cem>E.mo.tion\u003c/em>\u003c/h3>\n\u003cp>Justin Bieber, Selena Gomez and Demi Lovato all had great singles in 2015, but Carly Rae Jepsen intentionally created a pop \u003cem>album\u003c/em>, and it’s easily lovable.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaxRichter.jpg\" alt=\"MaxRichter\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>21. Max Richter – \u003cem>From Sleep\u003c/em>\u003c/h3>\n\u003cp>Richter wrote an eight-hour piece of music to be played while sleeping; the one-hour excerpt is enough, and sublime.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JamieXX.jpg\" alt=\"JamieXX\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>22. Jamie XX – \u003cem>In Colour\u003c/em>\u003c/h3>\n\u003cp>Not as revelatory as his \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/We're_New_Here\" target=\"_blank\" rel=\"noopener\">We’re New Here\u003c/a>\u003c/em> instrumentals, but rich and rewarding throughout, especially during “\u003ca href=\"https://www.youtube.com/watch?v=BjLBB-TMa84\" target=\"_blank\" rel=\"noopener\">Good Times\u003c/a>.”\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Helm.jpg\" alt=\"Helm\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>23. Helm – \u003cem>Olympic Mess\u003c/em>\u003c/h3>\n\u003cp>I can’t begin to understand the mind that creates this jagged noise, but I’ve loved everything it’s produced.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BadPlus.jpg\" alt=\"BadPlus\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>24. The Bad Plus and Joshua Redman – \u003cem>The Bad Plus Joshua Redman\u003c/em>\u003c/h3>\n\u003cp>I love the Bad Plus, and the daring jazz trio pushed Redman so far here that a lone solo of his got \u003ca href=\"http://ww2.kqed.org/arts/2015/12/07/bay-area-artists-with-2016-grammy-nominations/\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mansion.jpg\" alt=\"Mansion\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>25. Mansion – \u003cem>Early Life\u003c/em>\u003c/h3>\n\u003cp>Skittering post-punk in the vein of LiLiPUT or Gang of Four from the heart of Oakland, Calif., with Candace Lazarou’s vocal delivery causing chills.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It's no secret that Ariana Grande has been trying to emulate \u003ca href=\"http://ww2.kqed.org/pop/2015/08/12/all-64-mariah-carey-music-videos-ranked-from-worst-to-best/\" target=\"_blank\">Mariah Carey\u003c/a>'s fame trajectory for some time, so it makes sense that she's trying to give us a Christmas classic à la \"All I Want for Christmas Is You.\" It's been 20+ years since Mariah graced us with that miracle of a song and a lot has changed: mainly that subtlety is dead and buried, paving the way for even songs about Santa to be all about having dirty, dirty sex.\u003c/p>\n\u003cp>I present you with the most ridiculously sexual lyrics from Ariana's holiday EP, \u003cem>Christmas & Chill \u003c/em>(yes, she went there):\u003c/p>\n\u003col>\n\u003cli>\"Are you down for some of these milk and cookies?\"\u003c/li>\n\u003c/ol>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" rel=\"attachment wp-att-19558\">\u003cimg class=\"aligncenter size-full wp-image-19558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" alt=\"chang\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>2. \"You'll be my drummer boy,\u003cbr>\nAnd I'm the only drum that you gonna play.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" rel=\"attachment wp-att-19563\">\u003cimg class=\"aligncenter size-full wp-image-19563\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" alt=\"f8cGqyT\" width=\"266\" height=\"197\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. \"And whatever is on your list, I'll do it,\u003cbr>\nBoy, whatever it is, you know I'll do it.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" rel=\"attachment wp-att-19560\">\u003cimg class=\"aligncenter size-full wp-image-19560\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" alt=\"tumblr_msrnsjcIjN1sfirr4o1_250\" width=\"245\" height=\"170\">\u003c/a>\u003c/p>\n\u003cp>4. \"Merry Christmas, here I am, boy\u003cbr>\nI'm the present and you know it, boy.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" rel=\"attachment wp-att-19561\">\u003cimg class=\"aligncenter size-full wp-image-19561\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" alt=\"anigif_enhanced-27650-1444930009-2\" width=\"500\" height=\"255\">\u003c/a>\u003c/p>\n\u003cp>5. \"I'll give you the fire I keep inside,\u003cbr>\nGuide you all the way down, be your nightlight.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" rel=\"attachment wp-att-19562\">\u003cimg class=\"aligncenter size-full wp-image-19562\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" alt=\"tumblr_lflihdHhDo1qenzwto1_500\" width=\"500\" height=\"321\">\u003c/a>\u003c/p>\n\u003cp>6. \"We don't need no presents, we don't need the kitchen,\u003cbr>\nWe don't need them recipes,\u003cbr>\nYou know I'm tasty like a candy cane or gingerbread.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" rel=\"attachment wp-att-19559\">\u003cimg class=\"aligncenter size-full wp-image-19559\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" alt=\"anigif_enhanced-29189-1410206494-20\" width=\"500\" height=\"245\">\u003c/a>\u003c/p>\n\u003cp>If you want to hear Ariana earnestly sing these lyrics, listen to her EP:\u003c/p>\n\u003cp>https://open.spotify.com/album/6yi7FjzeCHGVJJAdWRYAmk\u003c/p>\n\u003cp>Or skip that and watch this instead:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXQViqx6GMY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's no secret that Ariana Grande has been trying to emulate \u003ca href=\"http://ww2.kqed.org/pop/2015/08/12/all-64-mariah-carey-music-videos-ranked-from-worst-to-best/\" target=\"_blank\">Mariah Carey\u003c/a>'s fame trajectory for some time, so it makes sense that she's trying to give us a Christmas classic à la \"All I Want for Christmas Is You.\" It's been 20+ years since Mariah graced us with that miracle of a song and a lot has changed: mainly that subtlety is dead and buried, paving the way for even songs about Santa to be all about having dirty, dirty sex.\u003c/p>\n\u003cp>I present you with the most ridiculously sexual lyrics from Ariana's holiday EP, \u003cem>Christmas & Chill \u003c/em>(yes, she went there):\u003c/p>\n\u003col>\n\u003cli>\"Are you down for some of these milk and cookies?\"\u003c/li>\n\u003c/ol>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" rel=\"attachment wp-att-19558\">\u003cimg class=\"aligncenter size-full wp-image-19558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" alt=\"chang\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>2. \"You'll be my drummer boy,\u003cbr>\nAnd I'm the only drum that you gonna play.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" rel=\"attachment wp-att-19563\">\u003cimg class=\"aligncenter size-full wp-image-19563\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" alt=\"f8cGqyT\" width=\"266\" height=\"197\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3. \"And whatever is on your list, I'll do it,\u003cbr>\nBoy, whatever it is, you know I'll do it.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" rel=\"attachment wp-att-19560\">\u003cimg class=\"aligncenter size-full wp-image-19560\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" alt=\"tumblr_msrnsjcIjN1sfirr4o1_250\" width=\"245\" height=\"170\">\u003c/a>\u003c/p>\n\u003cp>4. \"Merry Christmas, here I am, boy\u003cbr>\nI'm the present and you know it, boy.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" rel=\"attachment wp-att-19561\">\u003cimg class=\"aligncenter size-full wp-image-19561\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" alt=\"anigif_enhanced-27650-1444930009-2\" width=\"500\" height=\"255\">\u003c/a>\u003c/p>\n\u003cp>5. \"I'll give you the fire I keep inside,\u003cbr>\nGuide you all the way down, be your nightlight.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" rel=\"attachment wp-att-19562\">\u003cimg class=\"aligncenter size-full wp-image-19562\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" alt=\"tumblr_lflihdHhDo1qenzwto1_500\" width=\"500\" height=\"321\">\u003c/a>\u003c/p>\n\u003cp>6. \"We don't need no presents, we don't need the kitchen,\u003cbr>\nWe don't need them recipes,\u003cbr>\nYou know I'm tasty like a candy cane or gingerbread.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" rel=\"attachment wp-att-19559\">\u003cimg class=\"aligncenter size-full wp-image-19559\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" alt=\"anigif_enhanced-29189-1410206494-20\" width=\"500\" height=\"245\">\u003c/a>\u003c/p>\n\u003cp>If you want to hear Ariana earnestly sing these lyrics, listen to her EP:\u003c/p>\n\u003cp>https://open.spotify.com/album/6yi7FjzeCHGVJJAdWRYAmk\u003c/p>\n\u003cp>Or skip that and watch this instead:\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/yXQViqx6GMY'\n title='//www.youtube.com/embed/yXQViqx6GMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL20151218.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Now through Jan. 2nd:\u003c/strong> Jane Austen’s 1815 novel \u003cem>Emma\u003c/em> inspired the hit teen movie \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RS0KyTZ3Ie4\" target=\"_blank\" rel=\"noopener\">Clueless\u003c/a>, \u003c/em>so a musical adaptation for the stage is hardly radical. Paul Gordon wrote the music and book, and it became the biggest hit ever for \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> in Palo Alto in 2007. This remounting features the original leads, Lianne Marie Dobbs as the pushy matchmaker, Emma, and Timothy Gulan as Mr. Knightly, but adaptor Gordon has\u003cspan style=\"line-height: 1.5\"> added some new material, and it’s as charming as the first time. Details\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11171315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11171315 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg\" alt=\"Emma Woodhouse (Lianne Marie Dobbs) with family and friends in TheatreWorks production of 'Jane Austen’s Emma'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Woodhouse (Lianne Marie Dobbs) is surrounded by family and friends in TheatreWorks production of ‘Jane Austen’s Emma’ \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 19 & 20: \u003c/strong>Two musical organizations, both celebrating big anniversaries, are teaming up for this holiday gift to the South Bay. The forty voice \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">Choral Project\u003c/a> has been together 20 years, and the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San José Chamber Orchestra\u003c/a> is celebrating 25 years. They’re teaming up for their 12th annual \u003ca href=\"http://www.choralproject.org/concerts/\" target=\"_blank\" rel=\"noopener\">Winter’s Gifts concert\u003c/a>. They’re doing a world premiere commission by Richard Burchard, something new from Choral Project director Daniel Hughes, and music by Ennio Moricone of spaghetti western fame. The concerts are Dec. 19th at First Presbyterian Church in Palo Alto, and Dec. 20th at Mission Santa Clara de Asis. Details \u003ca href=\"http://www.sjco.org/SJCO/next-season.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11171598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11171598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg\" alt=\"The Choral Project\" width=\"640\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-960x626.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project \u003ccite>(Photo Courtesy of The Choral Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 18 & 22:\u003c/strong> I’m not so in love with the lo-fi aesthetics, but San Francisco’s \u003ca href=\"https://www.facebook.com/sarahbethenelson\" target=\"_blank\" rel=\"noopener\">Sarah Bethe Nelson\u003c/a> writes killer songs. “Paying\u003cem>,” \u003c/em>off her album \u003cem>\u003ca href=\"http://burgerrecords.11spot.com/sarah-bethe-nelson-fast-moving-clouds.html\" target=\"_blank\" rel=\"noopener\">Fast Moving Clouds\u003c/a> \u003c/em>(Burger Records)\u003cem>,\u003c/em> is one of \u003ca href=\"http://americansongwriter.com/2015/12/american-songwriter-top50-songs-of-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Songwriter\u003c/em>’s Top 50 Songs of 2015\u003c/a>. It’s about shutting down an ex-boyfriend who once got free drinks when she was bartending, and Nelson’s flat delivery is devastating. She plays \u003ca href=\"http://www.hemlocktavern.com/calendar/sarah-bethe-nelson-yea-ming-the-rumours/\" target=\"_blank\" rel=\"noopener\">The Hemlock Tavern\u003c/a> Dec. 18, and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia\u003c/a> Dec. 22nd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iW1rKms_WRU\u003c/p>\n\u003cp>\u003cstrong>Far Out!\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re inaugurating a new feature this week. With Far Out!, we’re looking ahead a few weeks or months to events so big, so cool they could sell out before you even hear about them. We’re starting with the fifteenth annual \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a>, running Jan. 7th-24. Lots of good choices this year, including the host of \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>, and a tribute to Christopher Guest’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118111/\" target=\"_blank\" rel=\"noopener\">Waiting for Guffman\u003c/a>\u003c/em>, and we’ll talk more about Sketchfest in January, but note that shows featuring Jon Hamm are (no surprise) selling out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P5xMrMnVsGo\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve:\u003c/strong>\u003c/p>\n\u003cp>There’s so much pressure to have the best time of your life on New Year’s Eve, maybe it’s better to stay home with your cat or dog. But if you’re venturing out, we have a few ideas:\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> \u003ca href=\"http://www.michaelfeinstein.com/\" target=\"_blank\" rel=\"noopener\">Michael Feinstein\u003c/a> knows the American songbook like few others, and he’s flying in from New York for \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6281265\" target=\"_blank\" rel=\"noopener\">2 shows \u003c/a> at his own club, \u003ca href=\"http://www.hotelnikkosf.com/feinsteins.aspx\" target=\"_blank\" rel=\"noopener\">Feinstein’s at the Nikko\u003c/a>. He told us he has a good antidote to the “best time ever” pressure, “it’s all about celebrating and the more casual it is, the more fun it is. The key is just really connecting into the vibe and going with it.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> We love eclectic, and so we love \u003ca href=\"http://www.decemberists.com/\" target=\"_blank\" rel=\"noopener\">The Decemberists\u003c/a>, who range-from folk-pop to rock opera. Their new album is \u003cem>What a Terrible World, What a Beautiful World\u003c/em>. Plus local Thao & the Get Down Stay Down open the show. at \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">The Masonic\u003c/a>. Sounds like the “best time ever.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> Get your disco on at \u003ca href=\"http://www.yoshis.com/search/?q=JODY%20WATLEY%20feat.%20Shalamar%20%22Reloaded%22\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> with Jody Watley (singer, songwriter, producer) and her old band, renamed Shalamar “Reloaded.” Don’t forget your platform shoes.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio,\u003c/a> our absolutely favorite local, live, R&B group, is doing two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>. Lead singer Ziek McCarter twists and shouts, and the band is as tight as they come.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZbXqBhP1WT0\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> Laughing the year away might be the best therapy for a lot of us. The ribald \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VnNUafkrKJA\" target=\"_blank\" rel=\"noopener\">Marga Gomez hosts a comedy show at the Brava Theater\u003c/a> with an all Latino lineup. The Republican Presidential field can expect no mercy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 31-Jan. 3:\u003c/strong> We finish with a saxophonist who is the essence of funk. \u003ca href=\"http://maceoparker.com/itinerary.html\" target=\"_blank\" rel=\"noopener\">Maceo Parker \u003c/a>does a New Year’s Eve show at \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, but if you’re home with your dog or cat, you can enjoy this former James Brown sideman on one of three more nights.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Now through Jan. 2nd:\u003c/strong> Jane Austen’s 1815 novel \u003cem>Emma\u003c/em> inspired the hit teen movie \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RS0KyTZ3Ie4\" target=\"_blank\" rel=\"noopener\">Clueless\u003c/a>, \u003c/em>so a musical adaptation for the stage is hardly radical. Paul Gordon wrote the music and book, and it became the biggest hit ever for \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> in Palo Alto in 2007. This remounting features the original leads, Lianne Marie Dobbs as the pushy matchmaker, Emma, and Timothy Gulan as Mr. Knightly, but adaptor Gordon has\u003cspan style=\"line-height: 1.5\"> added some new material, and it’s as charming as the first time. Details\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11171315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11171315 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg\" alt=\"Emma Woodhouse (Lianne Marie Dobbs) with family and friends in TheatreWorks production of 'Jane Austen’s Emma'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Woodhouse (Lianne Marie Dobbs) is surrounded by family and friends in TheatreWorks production of ‘Jane Austen’s Emma’ \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 19 & 20: \u003c/strong>Two musical organizations, both celebrating big anniversaries, are teaming up for this holiday gift to the South Bay. The forty voice \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">Choral Project\u003c/a> has been together 20 years, and the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San José Chamber Orchestra\u003c/a> is celebrating 25 years. They’re teaming up for their 12th annual \u003ca href=\"http://www.choralproject.org/concerts/\" target=\"_blank\" rel=\"noopener\">Winter’s Gifts concert\u003c/a>. They’re doing a world premiere commission by Richard Burchard, something new from Choral Project director Daniel Hughes, and music by Ennio Moricone of spaghetti western fame. The concerts are Dec. 19th at First Presbyterian Church in Palo Alto, and Dec. 20th at Mission Santa Clara de Asis. Details \u003ca href=\"http://www.sjco.org/SJCO/next-season.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11171598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11171598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg\" alt=\"The Choral Project\" width=\"640\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-960x626.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project \u003ccite>(Photo Courtesy of The Choral Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 18 & 22:\u003c/strong> I’m not so in love with the lo-fi aesthetics, but San Francisco’s \u003ca href=\"https://www.facebook.com/sarahbethenelson\" target=\"_blank\" rel=\"noopener\">Sarah Bethe Nelson\u003c/a> writes killer songs. “Paying\u003cem>,” \u003c/em>off her album \u003cem>\u003ca href=\"http://burgerrecords.11spot.com/sarah-bethe-nelson-fast-moving-clouds.html\" target=\"_blank\" rel=\"noopener\">Fast Moving Clouds\u003c/a> \u003c/em>(Burger Records)\u003cem>,\u003c/em> is one of \u003ca href=\"http://americansongwriter.com/2015/12/american-songwriter-top50-songs-of-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Songwriter\u003c/em>’s Top 50 Songs of 2015\u003c/a>. It’s about shutting down an ex-boyfriend who once got free drinks when she was bartending, and Nelson’s flat delivery is devastating. She plays \u003ca href=\"http://www.hemlocktavern.com/calendar/sarah-bethe-nelson-yea-ming-the-rumours/\" target=\"_blank\" rel=\"noopener\">The Hemlock Tavern\u003c/a> Dec. 18, and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia\u003c/a> Dec. 22nd.\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/iW1rKms_WRU'\n title='//www.youtube.com/embed/iW1rKms_WRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Far Out!\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re inaugurating a new feature this week. With Far Out!, we’re looking ahead a few weeks or months to events so big, so cool they could sell out before you even hear about them. We’re starting with the fifteenth annual \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a>, running Jan. 7th-24. Lots of good choices this year, including the host of \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>, and a tribute to Christopher Guest’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118111/\" target=\"_blank\" rel=\"noopener\">Waiting for Guffman\u003c/a>\u003c/em>, and we’ll talk more about Sketchfest in January, but note that shows featuring Jon Hamm are (no surprise) selling out.\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/P5xMrMnVsGo'\n title='//www.youtube.com/embed/P5xMrMnVsGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>New Year’s Eve:\u003c/strong>\u003c/p>\n\u003cp>There’s so much pressure to have the best time of your life on New Year’s Eve, maybe it’s better to stay home with your cat or dog. But if you’re venturing out, we have a few ideas:\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> \u003ca href=\"http://www.michaelfeinstein.com/\" target=\"_blank\" rel=\"noopener\">Michael Feinstein\u003c/a> knows the American songbook like few others, and he’s flying in from New York for \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6281265\" target=\"_blank\" rel=\"noopener\">2 shows \u003c/a> at his own club, \u003ca href=\"http://www.hotelnikkosf.com/feinsteins.aspx\" target=\"_blank\" rel=\"noopener\">Feinstein’s at the Nikko\u003c/a>. He told us he has a good antidote to the “best time ever” pressure, “it’s all about celebrating and the more casual it is, the more fun it is. The key is just really connecting into the vibe and going with it.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> We love eclectic, and so we love \u003ca href=\"http://www.decemberists.com/\" target=\"_blank\" rel=\"noopener\">The Decemberists\u003c/a>, who range-from folk-pop to rock opera. Their new album is \u003cem>What a Terrible World, What a Beautiful World\u003c/em>. Plus local Thao & the Get Down Stay Down open the show. at \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">The Masonic\u003c/a>. Sounds like the “best time ever.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> Get your disco on at \u003ca href=\"http://www.yoshis.com/search/?q=JODY%20WATLEY%20feat.%20Shalamar%20%22Reloaded%22\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> with Jody Watley (singer, songwriter, producer) and her old band, renamed Shalamar “Reloaded.” Don’t forget your platform shoes.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio,\u003c/a> our absolutely favorite local, live, R&B group, is doing two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>. Lead singer Ziek McCarter twists and shouts, and the band is as tight as they come.\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/ZbXqBhP1WT0'\n title='//www.youtube.com/embed/ZbXqBhP1WT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 31:\u003c/strong> Laughing the year away might be the best therapy for a lot of us. The ribald \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VnNUafkrKJA\" target=\"_blank\" rel=\"noopener\">Marga Gomez hosts a comedy show at the Brava Theater\u003c/a> with an all Latino lineup. The Republican Presidential field can expect no mercy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 31-Jan. 3:\u003c/strong> We finish with a saxophonist who is the essence of funk. \u003ca href=\"http://maceoparker.com/itinerary.html\" target=\"_blank\" rel=\"noopener\">Maceo Parker \u003c/a>does a New Year’s Eve show at \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, but if you’re home with your dog or cat, you can enjoy this former James Brown sideman on one of three more nights.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group’s career, \u003cem>Straight Outta Compton\u003c/em>, was a box-office hit. Their hard-core tales of life on the street on songs like “F— the Police” made them a provocative chart presence in the late 1980s and influenced an empire of other acts.\u003c/p>\n\u003cp>Both Miller and Cheap Trick made it during their first year on the ballot.\u003c/p>\n\u003cp>The induction ceremony for the Cleveland-based hall will be held April 8 in Brooklyn’s Barclays Center. HBO will televise highlights later in the spring.\u003c/p>\n\u003cp>Guitarist Miller came out of the San Francisco rock scene and became a dependable maker of pop hits like “Take the Money and Run,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Midwestern favorites Cheap Trick succeeded with a highly amped version of Beatles-influenced melodies on hits “Surrender” and “Dream Police.” Their \u003cem>Live at Budokan\u003c/em> album is one of rock’s best-known live sets. Guitarist Rick Nielsen and rumpled drummer Bun E. Carlos gave them an indelible live presence.\u003c/p>\n\u003cp>Cheap Trick moved swiftly to capitalize on the honor, announcing Thursday they had signed a new deal with Taylor Swift’s label, Big Machine Records. The band will release its 17th studio album a week before its induction.\u003c/p>\n\u003cp>“Thanks to all the fans who have supported us for all these years and to the Hall of Fame members who cast their votes,” said bass player Tom Petersson. “We are excited and honored.”\u003c/p>\n\u003cp>The guitar riff for Deep Purple’s “Smoke on the Water” remains one of the most recognizable in rock history. Guitarist Ritchie Blackmore was a stalwart in a hard rock act that competed with Led Zeppelin and Black Sabbath for the loyalty of metalheads.\u003c/p>\n\u003cp>Before shortening its name from the Chicago Transit Authority, Chicago was known for its jazz-rock fusion. The band had a string of pop hits including “Saturday in the Park,” “25 or 6 to 4,” “If You Leave Me Now” and “Does Anyone Really Know What Time it Is?”\u003c/p>\n\u003cp>More than 800 voters of the Rock and Roll Hall of Fame Foundation selected the inductees.\u003c/p>\n\u003cp>The influential disco-era band Chic is becoming the Susan Lucci of music, failing to win induction in its 10th year as a nominee. Janet Jackson, The Cars, Los Lobos and Yes were among the other nominees rejected.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Follow David Bauder at twitter.com/dbauder. His work can be found at \u003ca href=\"http://bigstory.ap.org/content/david-bauder\" target=\"_blank\" rel=\"noopener\">bigstory.ap.org/content/david-bauder.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group’s career, \u003cem>Straight Outta Compton\u003c/em>, was a box-office hit. Their hard-core tales of life on the street on songs like “F— the Police” made them a provocative chart presence in the late 1980s and influenced an empire of other acts.\u003c/p>\n\u003cp>Both Miller and Cheap Trick made it during their first year on the ballot.\u003c/p>\n\u003cp>The induction ceremony for the Cleveland-based hall will be held April 8 in Brooklyn’s Barclays Center. HBO will televise highlights later in the spring.\u003c/p>\n\u003cp>Guitarist Miller came out of the San Francisco rock scene and became a dependable maker of pop hits like “Take the Money and Run,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Midwestern favorites Cheap Trick succeeded with a highly amped version of Beatles-influenced melodies on hits “Surrender” and “Dream Police.” Their \u003cem>Live at Budokan\u003c/em> album is one of rock’s best-known live sets. Guitarist Rick Nielsen and rumpled drummer Bun E. Carlos gave them an indelible live presence.\u003c/p>\n\u003cp>Cheap Trick moved swiftly to capitalize on the honor, announcing Thursday they had signed a new deal with Taylor Swift’s label, Big Machine Records. The band will release its 17th studio album a week before its induction.\u003c/p>\n\u003cp>“Thanks to all the fans who have supported us for all these years and to the Hall of Fame members who cast their votes,” said bass player Tom Petersson. “We are excited and honored.”\u003c/p>\n\u003cp>The guitar riff for Deep Purple’s “Smoke on the Water” remains one of the most recognizable in rock history. Guitarist Ritchie Blackmore was a stalwart in a hard rock act that competed with Led Zeppelin and Black Sabbath for the loyalty of metalheads.\u003c/p>\n\u003cp>Before shortening its name from the Chicago Transit Authority, Chicago was known for its jazz-rock fusion. The band had a string of pop hits including “Saturday in the Park,” “25 or 6 to 4,” “If You Leave Me Now” and “Does Anyone Really Know What Time it Is?”\u003c/p>\n\u003cp>More than 800 voters of the Rock and Roll Hall of Fame Foundation selected the inductees.\u003c/p>\n\u003cp>The influential disco-era band Chic is becoming the Susan Lucci of music, failing to win induction in its 10th year as a nominee. Janet Jackson, The Cars, Los Lobos and Yes were among the other nominees rejected.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Follow David Bauder at twitter.com/dbauder. His work can be found at \u003ca href=\"http://bigstory.ap.org/content/david-bauder\" target=\"_blank\" rel=\"noopener\">bigstory.ap.org/content/david-bauder.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "do-your-part-support-the-local-music-scene-with-these-2015-releases",
"title": "Do Your Part: Support the Local Music Scene With These 2015 Releases",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The Bay Area will always be a musical petri dish, growing all types of unique voices and sounds — in incredibly close proximity to one another, no less.\u003c/p>\n\u003cp>But it’s not easy making music here, as local musicians all have to deal with the high cost of living and the shrinking number of practice and performance spaces, not to mention the current issues with making a living in the music business, no matter where you live. So if you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music, be it the new record from a current group or an archival release?\u003c/p>\n\u003cp>While all of these gift ideas might not be from local groups, they are all excuses for supporting local music stores — and in one case, a local music journalist. Most importantly, they all help fuel creativity and support those still making it work here, just for the sake of the music.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11170920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11170920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg\" alt=\"Erase Errata, 'Lost Weekend'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend.jpg 658w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Erase Errata, ‘Lost Weekend’\u003c/figcaption>\u003c/figure>\n\u003ch3>Erase Errata, \u003cem>Lost Weekend\u003c/em>\u003c/h3>\n\u003cp>If I were being a grump, I’d say this 2015 record — a reemergence from one of San Francisco’s best-loved post-punk outfits, some nine years after their last album — is a marker of just how much the city’s changed. The angles of a needling guitar riff, the cool bluntless of singer Jenny Hoyston’s delivery, the inherent grit of a noisy three-piece making artful, self-aware noise: they paint a picture of a crowded, sweaty basement show, the kind that used to land bands opening spots on Le Tigre tours…and the kind San Francisco has all but obliterated over the past decade. I won’t be a grump, though, because this record was a much-needed breath of fresh air in 2015, from the dancey groove of “History of Handclaps” to the urgent social commentary of “Don’t Sit/Lie.” The album’s title, a nod to the long-beleaguered-but-hanging-in-there Mission District video store of the same name (where the band’s been known to practice), also helps this album feel like a triumphant final bow as opposed to a fade out: Erase Errata called it quits for good just nine months after this release. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171036\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg\" alt=\"Sun Ra - 'Space Is The Place'\" width=\"400\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-522x600.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra – ‘Space Is The Place’\u003c/figcaption>\u003c/figure>\n\u003ch3>Sun Ra, \u003ci>Space is Place\u003c/i> (2015 Reissue)\u003c/h3>\n\u003ch5>Harte Recordings\u003c/h5>\n\u003cp>Afrofuturism is undergoing a resurgence in Oakland at the moment. The vision of an idyll for liberated black men and women as seen through a science-fiction lens, Afrofuturism runs in the work of DJ \u003ca href=\"http://ww2.kqed.org/arts/2015/10/30/selam-bekele-and-the-resurgence-of-bay-area-afrofuturism/\" target=\"_blank\" rel=\"noopener\">Selam Bekele\u003c/a>, artist \u003ca href=\"http://www.mahader.com/\" target=\"_blank\" rel=\"noopener\">Mahader Tesfai\u003c/a>, the collective \u003ca href=\"http://qilombo.org/\" target=\"_blank\" rel=\"noopener\">Qilombo\u003c/a> and many others. So it’s a timely gift from above that Sun Ra’s \u003cem>Space is the Place\u003c/em>, the groundbreaking Afrofuturistic film shot in Oakland, saw a deluxe reissue this year. Sun Ra was no stranger to extraterrestrial ideas — he claimed to have been born on Saturn — and his wildly original jazz compositions reflected such ideology. But \u003cem>Space is the Place\u003c/em> brought his philosophy down to the street level, and the scenes of Sun Ra recruiting young black Oaklanders to leave Earth in his spaceship are a must-see for any Bay Area music fan. Harte Recordings’ reissue includes both edits of the film, a CD soundtrack, and a marvelous 125-page full-color hardcover book. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171040\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg\" alt=\"Life Stinks, 'You'll Never Make It'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Life Stinks, ‘You’ll Never Make It’\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks, \u003ci>You’ll Never Make It\u003c/i>\u003c/h3>\n\u003ch5>S.S. Records\u003c/h5>\n\u003cp>It feels weird suggesting something this punk to a KQED audience but this music, both difficult to hear and easy to malign for so many, can be intoxicating for those who know they \u003ci>need\u003c/i> it in their lives. For me, punk rock has always been a venue for releasing energy. The combination of bouncing drums, buzzsaw guitars and a singer with something angry or crazy to yell about can still take over my mental state — no matter what it is — and make me want to pump my fists and yell along.\u003c/p>\n\u003cp>As I’ve gotten older, I’ve moved away from the fast-as-possible, make-you-want-to-run-around-in-circles version of punk. Now I pursue output from groups that still fit under the punk rock umbrella but have also figured out that songs don’t need to played at breakneck speeds to be powerful. Flipper, Pissed Jeans and especially San Francisco’s Life Stinks — they make the kind of music that makes you want to sway side-to-side instead of punching someone in the face. Life Stinks has the added bonus of being fronted by Chad Kawamura, a Hemingway of misanthropic lyrics, who even manages to insert some melody on \u003ci>You’ll Never Make It\u003c/i> in standout tracks like “Anchor” and “In a Place.” — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171049\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg\" alt=\"Double Duchess, 'All Eyes On Me'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Double Duchess, ‘All Eyes On Me’\u003c/figcaption>\u003c/figure>\n\u003ch3>Double Duchess, \u003ci>All Eyes on Me\u003c/i>\u003c/h3>\n\u003ch5>\u003ca href=\"http://doubleduchess.com/albums/all-eyes-on-me/\" target=\"_blank\" rel=\"noopener\">self released\u003c/a>\u003c/h5>\n\u003cp>One of the great injustices, if you’re an artist known for putting on a tremendously engaging live show, is that a tremendously engaging live show is tremendously tough to translate into a record. If it weren’t? The queer electro/dance/hip-hop duo Double Duchess might have been famous five years ago. As it stands, they’re at least locally famous for their stage presence (which is a rather tame way of saying booty-popping) as much as for their gleefully raw club bangers. Their 2015 EP, the duo’s third, has the highest production value we’ve seen yet from the Duchess — and may (maybe? hopefully?) help push them into more mainstream pop realms. If you’ve got a friend in need of some new dance grooves and they’re anything but conservative, this is a good bet. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171161\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg\" alt=\"Velvet Undergound, 'The Matrix Tapes'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Undergound, ‘The Matrix Tapes’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Velvet Underground, \u003ci>The Matrix Tapes\u003c/i>\u003c/h3>\n\u003ch5>Polydor\u003c/h5>\n\u003cp>‘Tis the year of the complete master tapes. Bruce Springsteen just announced a tour themed around his completist 4-CD/3-DVD box set \u003cem>The Ties That Bind: The River Collection\u003c/em>, and Bob Dylan’s massive 18-CD box \u003cem>The Cutting Edge 1965-1966: The Bootleg Series Vol. 12\u003c/em> contains a CD with \u003cem>seventeen\u003c/em> takes of “Like a Rolling Stone.” So when it comes to \u003cem>The Matrix Tapes\u003c/em> from the Velvet Underground, recorded at San Francisco’s Matrix club on Fillmore, well, four CDs sounds downright manageable. And despite multiple versions of songs, the set is eminently listenable, if for no other reason than the band was so improvisatory and unpredictable that each of the four versions here of “Heroin,” for example, go in totally different directions. Fans will already own the cream of this crop, issued by Mercury Records in the double album \u003cem>1969: The Velvet Underground Live\u003c/em>, but for diehards (and/or those who remember when the Marina was more accepting of crazy freaks like Lou Reed), this set is pure bliss. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171164\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg\" alt=\"Owen Maercks, 'Teenage Sex Therapist'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks.jpg 968w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Owen Maercks, ‘Teenage Sex Therapist’\u003c/figcaption>\u003c/figure>\n\u003ch3>Owen Maercks, \u003ci>Teenage Sex Therapist\u003c/i> (2015 reissue)\u003c/h3>\n\u003ch5>Feeding Tube Records\u003c/h5>\n\u003cp>There’s plenty to hate the Internet for — comments on YouTube alone are worth shutting the whole thing down — but it’s been a fantastic tool for unearthing lost works of musical genius and providing them to the masses. \u003ci>Teenage Sex Therapist\u003c/i> is a prime example of a record that practically no one knew about until just a few years ago; when it was first released in 1978, \u003ca href=\"http://www.sfgate.com/music/article/Avant-garde-rocker-Owen-Maercks-finds-an-audience-5714193.php\" target=\"_blank\" rel=\"noopener\">Owen Maercks managed to avoid selling a single copy\u003c/a>. This album speaks to fans of early Talking Heads, Devo and other New Wave bands, but it also deserves the attention of those who enjoy Velvet Underground, Frank Zappa and Captain Beefheart. It’s catchy but unpredictable, and features some smoking guitar work by a young Henry Kaiser. And though it might not always sound like your thing, by the time you want to move the needle, it’s jumped into another genre. Worth hunting down just for the ride you take during that first listen. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171168\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg\" alt=\"Zion I, 'The Rapture: Live from Oaklandia'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia.jpg 933w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zion I, ‘The Rapture: Live from Oaklandia’\u003c/figcaption>\u003c/figure>\n\u003ch3>Zion I, \u003cem>The Rapture: Live From Oaklandia \u003c/em>\u003c/h3>\n\u003ch5>Mind Over Matter\u003c/h5>\n\u003cp>Oakland’s underground hip-hop scene is a sprawling, storied thing, and to reduce it to two camps would be, well, reductive. But it’s true that many people see East Bay rap as either the stuff of mean streets — the pavement from which the hyphy movement sprung — or conscious, activist hip-hop, with nary a misogynist slur or drug reference in sight. Zion I, a duo that burst onto the scene with a critically acclaimed debut in 2000, has managed in the 15 years since to skirt that easy categorization: Their lyrics are fiercely intelligent, sometimes literary, with a strain of social uprising never far from the surface of a song — but never preachy, and there’s certainly never been a question about their street cred. This live album, recorded at an intimate show in October (in Santa Cruz, but we’ll let that go) serves two purposes: As a best-of, it’s a compilation of fan favorites — their performance of “The Bay,” in particular, was a thing to behold at this year’s Hiero Day — but it also serves as a farewell (for now), as the duo announced in February of this year that they’d be parting ways. I’m curious what’ll come next for each individual artist, but this’ll do fine for now. — \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171171\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg\" alt='Inflatable Boy Clams 2x7\"' width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Inflatable Boy Clams 2×7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Inflatable Boy Clams, s/t 2×7” (2015 Reissue)\u003c/h3>\n\u003ch5>Superior Viaduct\u003c/h5>\n\u003cp>These days it’s impossible to discover music untainted by outside influences — or, for that matter, to \u003cem>create\u003c/em> music untainted by outside influences. But in 1981, before the internet and other forms of media inundated our daily life, four young women calling themselves the Inflatable Boy Clams recorded one of the strangest and purest releases in Bay Area history. Though musically, the songs come across as unapologetically untrained, the Clams’ concepts are wonderfully honed. “Marin” is a satirical dig at the relaxed, entitled atmosphere across the bridge, while “I’m Sorry” predates Riot Grrrl’s in-your-face detail with spoken-word vignettes of menstruation and incest. More than anything, this double 7-inch is a document of anything-goes innocence and the true DIY spirit. This faithful reissue comes courtesy of Superior Viaduct (who concurrently reissued the only LP by the members’ other, more new-wavey band, Pink Section). — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171175\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171175\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg\" alt=\"Richie Unterberger, 'Unknown Legends of Rock 'N' Roll'\" width=\"400\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-375x600.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-768x1228.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-738x1180.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-1180x1887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-960x1536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends.jpg 1563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Richie Unterberger, ‘Unknown Legends of Rock ‘N’ Roll’\u003c/figcaption>\u003c/figure>\n\u003ch3>Richie Unterberger, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i> (Expanded E-book)\u003c/h3>\n\u003ch5>self-published\u003c/h5>\n\u003cp>Richie Unterberger is a Bay Area music journalist who, years before the theory of “\u003ca href=\"http://www.thelongtail.com/about.html\" target=\"_blank\" rel=\"noopener\">The Long Tail\u003c/a>” of the internet (1998), researched and published one of the best primers of outsider rock ‘n’ roll for burgeoning record-crate diggers like myself, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i>. The book was packed to the brim with essays about lost garage pop geniuses like Skip Spence, Lee Hazelwood and Syd Barrett, and foreign rock masters who just couldn’t break into the mainstream American market, including krautrock kings Can and anarcho-punks Crass. Sometimes the band’s story was better than their musical output — my expectations for the Misunderstood were impossible to meet after I read about the band’s British debut — but Unterberger’s profiles made me want to hunt down a release from each of the 60 bands he wrote about.\u003c/p>\n\u003cp>Now over a decade old, Unterberger has returned to his underground music encyclopedia, releasing a new e-Book version that adds profiles of 15 more bands and tops out at just under 350,000 words. If you love music and learning about groups outside of the mainstream, this is a must-read. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The Bay Area will always be a musical petri dish, growing all types of unique voices and sounds — in incredibly close proximity to one another, no less.\u003c/p>\n\u003cp>But it’s not easy making music here, as local musicians all have to deal with the high cost of living and the shrinking number of practice and performance spaces, not to mention the current issues with making a living in the music business, no matter where you live. So if you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music, be it the new record from a current group or an archival release?\u003c/p>\n\u003cp>While all of these gift ideas might not be from local groups, they are all excuses for supporting local music stores — and in one case, a local music journalist. Most importantly, they all help fuel creativity and support those still making it work here, just for the sake of the music.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11170920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11170920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg\" alt=\"Erase Errata, 'Lost Weekend'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend.jpg 658w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Erase Errata, ‘Lost Weekend’\u003c/figcaption>\u003c/figure>\n\u003ch3>Erase Errata, \u003cem>Lost Weekend\u003c/em>\u003c/h3>\n\u003cp>If I were being a grump, I’d say this 2015 record — a reemergence from one of San Francisco’s best-loved post-punk outfits, some nine years after their last album — is a marker of just how much the city’s changed. The angles of a needling guitar riff, the cool bluntless of singer Jenny Hoyston’s delivery, the inherent grit of a noisy three-piece making artful, self-aware noise: they paint a picture of a crowded, sweaty basement show, the kind that used to land bands opening spots on Le Tigre tours…and the kind San Francisco has all but obliterated over the past decade. I won’t be a grump, though, because this record was a much-needed breath of fresh air in 2015, from the dancey groove of “History of Handclaps” to the urgent social commentary of “Don’t Sit/Lie.” The album’s title, a nod to the long-beleaguered-but-hanging-in-there Mission District video store of the same name (where the band’s been known to practice), also helps this album feel like a triumphant final bow as opposed to a fade out: Erase Errata called it quits for good just nine months after this release. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171036\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg\" alt=\"Sun Ra - 'Space Is The Place'\" width=\"400\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-522x600.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra – ‘Space Is The Place’\u003c/figcaption>\u003c/figure>\n\u003ch3>Sun Ra, \u003ci>Space is Place\u003c/i> (2015 Reissue)\u003c/h3>\n\u003ch5>Harte Recordings\u003c/h5>\n\u003cp>Afrofuturism is undergoing a resurgence in Oakland at the moment. The vision of an idyll for liberated black men and women as seen through a science-fiction lens, Afrofuturism runs in the work of DJ \u003ca href=\"http://ww2.kqed.org/arts/2015/10/30/selam-bekele-and-the-resurgence-of-bay-area-afrofuturism/\" target=\"_blank\" rel=\"noopener\">Selam Bekele\u003c/a>, artist \u003ca href=\"http://www.mahader.com/\" target=\"_blank\" rel=\"noopener\">Mahader Tesfai\u003c/a>, the collective \u003ca href=\"http://qilombo.org/\" target=\"_blank\" rel=\"noopener\">Qilombo\u003c/a> and many others. So it’s a timely gift from above that Sun Ra’s \u003cem>Space is the Place\u003c/em>, the groundbreaking Afrofuturistic film shot in Oakland, saw a deluxe reissue this year. Sun Ra was no stranger to extraterrestrial ideas — he claimed to have been born on Saturn — and his wildly original jazz compositions reflected such ideology. But \u003cem>Space is the Place\u003c/em> brought his philosophy down to the street level, and the scenes of Sun Ra recruiting young black Oaklanders to leave Earth in his spaceship are a must-see for any Bay Area music fan. Harte Recordings’ reissue includes both edits of the film, a CD soundtrack, and a marvelous 125-page full-color hardcover book. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171040\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg\" alt=\"Life Stinks, 'You'll Never Make It'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Life Stinks, ‘You’ll Never Make It’\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks, \u003ci>You’ll Never Make It\u003c/i>\u003c/h3>\n\u003ch5>S.S. Records\u003c/h5>\n\u003cp>It feels weird suggesting something this punk to a KQED audience but this music, both difficult to hear and easy to malign for so many, can be intoxicating for those who know they \u003ci>need\u003c/i> it in their lives. For me, punk rock has always been a venue for releasing energy. The combination of bouncing drums, buzzsaw guitars and a singer with something angry or crazy to yell about can still take over my mental state — no matter what it is — and make me want to pump my fists and yell along.\u003c/p>\n\u003cp>As I’ve gotten older, I’ve moved away from the fast-as-possible, make-you-want-to-run-around-in-circles version of punk. Now I pursue output from groups that still fit under the punk rock umbrella but have also figured out that songs don’t need to played at breakneck speeds to be powerful. Flipper, Pissed Jeans and especially San Francisco’s Life Stinks — they make the kind of music that makes you want to sway side-to-side instead of punching someone in the face. Life Stinks has the added bonus of being fronted by Chad Kawamura, a Hemingway of misanthropic lyrics, who even manages to insert some melody on \u003ci>You’ll Never Make It\u003c/i> in standout tracks like “Anchor” and “In a Place.” — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171049\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg\" alt=\"Double Duchess, 'All Eyes On Me'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Double Duchess, ‘All Eyes On Me’\u003c/figcaption>\u003c/figure>\n\u003ch3>Double Duchess, \u003ci>All Eyes on Me\u003c/i>\u003c/h3>\n\u003ch5>\u003ca href=\"http://doubleduchess.com/albums/all-eyes-on-me/\" target=\"_blank\" rel=\"noopener\">self released\u003c/a>\u003c/h5>\n\u003cp>One of the great injustices, if you’re an artist known for putting on a tremendously engaging live show, is that a tremendously engaging live show is tremendously tough to translate into a record. If it weren’t? The queer electro/dance/hip-hop duo Double Duchess might have been famous five years ago. As it stands, they’re at least locally famous for their stage presence (which is a rather tame way of saying booty-popping) as much as for their gleefully raw club bangers. Their 2015 EP, the duo’s third, has the highest production value we’ve seen yet from the Duchess — and may (maybe? hopefully?) help push them into more mainstream pop realms. If you’ve got a friend in need of some new dance grooves and they’re anything but conservative, this is a good bet. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171161\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg\" alt=\"Velvet Undergound, 'The Matrix Tapes'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Undergound, ‘The Matrix Tapes’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Velvet Underground, \u003ci>The Matrix Tapes\u003c/i>\u003c/h3>\n\u003ch5>Polydor\u003c/h5>\n\u003cp>‘Tis the year of the complete master tapes. Bruce Springsteen just announced a tour themed around his completist 4-CD/3-DVD box set \u003cem>The Ties That Bind: The River Collection\u003c/em>, and Bob Dylan’s massive 18-CD box \u003cem>The Cutting Edge 1965-1966: The Bootleg Series Vol. 12\u003c/em> contains a CD with \u003cem>seventeen\u003c/em> takes of “Like a Rolling Stone.” So when it comes to \u003cem>The Matrix Tapes\u003c/em> from the Velvet Underground, recorded at San Francisco’s Matrix club on Fillmore, well, four CDs sounds downright manageable. And despite multiple versions of songs, the set is eminently listenable, if for no other reason than the band was so improvisatory and unpredictable that each of the four versions here of “Heroin,” for example, go in totally different directions. Fans will already own the cream of this crop, issued by Mercury Records in the double album \u003cem>1969: The Velvet Underground Live\u003c/em>, but for diehards (and/or those who remember when the Marina was more accepting of crazy freaks like Lou Reed), this set is pure bliss. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171164\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg\" alt=\"Owen Maercks, 'Teenage Sex Therapist'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks.jpg 968w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Owen Maercks, ‘Teenage Sex Therapist’\u003c/figcaption>\u003c/figure>\n\u003ch3>Owen Maercks, \u003ci>Teenage Sex Therapist\u003c/i> (2015 reissue)\u003c/h3>\n\u003ch5>Feeding Tube Records\u003c/h5>\n\u003cp>There’s plenty to hate the Internet for — comments on YouTube alone are worth shutting the whole thing down — but it’s been a fantastic tool for unearthing lost works of musical genius and providing them to the masses. \u003ci>Teenage Sex Therapist\u003c/i> is a prime example of a record that practically no one knew about until just a few years ago; when it was first released in 1978, \u003ca href=\"http://www.sfgate.com/music/article/Avant-garde-rocker-Owen-Maercks-finds-an-audience-5714193.php\" target=\"_blank\" rel=\"noopener\">Owen Maercks managed to avoid selling a single copy\u003c/a>. This album speaks to fans of early Talking Heads, Devo and other New Wave bands, but it also deserves the attention of those who enjoy Velvet Underground, Frank Zappa and Captain Beefheart. It’s catchy but unpredictable, and features some smoking guitar work by a young Henry Kaiser. And though it might not always sound like your thing, by the time you want to move the needle, it’s jumped into another genre. Worth hunting down just for the ride you take during that first listen. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171168\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg\" alt=\"Zion I, 'The Rapture: Live from Oaklandia'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia.jpg 933w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zion I, ‘The Rapture: Live from Oaklandia’\u003c/figcaption>\u003c/figure>\n\u003ch3>Zion I, \u003cem>The Rapture: Live From Oaklandia \u003c/em>\u003c/h3>\n\u003ch5>Mind Over Matter\u003c/h5>\n\u003cp>Oakland’s underground hip-hop scene is a sprawling, storied thing, and to reduce it to two camps would be, well, reductive. But it’s true that many people see East Bay rap as either the stuff of mean streets — the pavement from which the hyphy movement sprung — or conscious, activist hip-hop, with nary a misogynist slur or drug reference in sight. Zion I, a duo that burst onto the scene with a critically acclaimed debut in 2000, has managed in the 15 years since to skirt that easy categorization: Their lyrics are fiercely intelligent, sometimes literary, with a strain of social uprising never far from the surface of a song — but never preachy, and there’s certainly never been a question about their street cred. This live album, recorded at an intimate show in October (in Santa Cruz, but we’ll let that go) serves two purposes: As a best-of, it’s a compilation of fan favorites — their performance of “The Bay,” in particular, was a thing to behold at this year’s Hiero Day — but it also serves as a farewell (for now), as the duo announced in February of this year that they’d be parting ways. I’m curious what’ll come next for each individual artist, but this’ll do fine for now. — \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171171\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg\" alt='Inflatable Boy Clams 2x7\"' width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Inflatable Boy Clams 2×7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Inflatable Boy Clams, s/t 2×7” (2015 Reissue)\u003c/h3>\n\u003ch5>Superior Viaduct\u003c/h5>\n\u003cp>These days it’s impossible to discover music untainted by outside influences — or, for that matter, to \u003cem>create\u003c/em> music untainted by outside influences. But in 1981, before the internet and other forms of media inundated our daily life, four young women calling themselves the Inflatable Boy Clams recorded one of the strangest and purest releases in Bay Area history. Though musically, the songs come across as unapologetically untrained, the Clams’ concepts are wonderfully honed. “Marin” is a satirical dig at the relaxed, entitled atmosphere across the bridge, while “I’m Sorry” predates Riot Grrrl’s in-your-face detail with spoken-word vignettes of menstruation and incest. More than anything, this double 7-inch is a document of anything-goes innocence and the true DIY spirit. This faithful reissue comes courtesy of Superior Viaduct (who concurrently reissued the only LP by the members’ other, more new-wavey band, Pink Section). — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171175\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171175\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg\" alt=\"Richie Unterberger, 'Unknown Legends of Rock 'N' Roll'\" width=\"400\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-375x600.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-768x1228.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-738x1180.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-1180x1887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-960x1536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends.jpg 1563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Richie Unterberger, ‘Unknown Legends of Rock ‘N’ Roll’\u003c/figcaption>\u003c/figure>\n\u003ch3>Richie Unterberger, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i> (Expanded E-book)\u003c/h3>\n\u003ch5>self-published\u003c/h5>\n\u003cp>Richie Unterberger is a Bay Area music journalist who, years before the theory of “\u003ca href=\"http://www.thelongtail.com/about.html\" target=\"_blank\" rel=\"noopener\">The Long Tail\u003c/a>” of the internet (1998), researched and published one of the best primers of outsider rock ‘n’ roll for burgeoning record-crate diggers like myself, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i>. The book was packed to the brim with essays about lost garage pop geniuses like Skip Spence, Lee Hazelwood and Syd Barrett, and foreign rock masters who just couldn’t break into the mainstream American market, including krautrock kings Can and anarcho-punks Crass. Sometimes the band’s story was better than their musical output — my expectations for the Misunderstood were impossible to meet after I read about the band’s British debut — but Unterberger’s profiles made me want to hunt down a release from each of the 60 bands he wrote about.\u003c/p>\n\u003cp>Now over a decade old, Unterberger has returned to his underground music encyclopedia, releasing a new e-Book version that adds profiles of 15 more bands and tops out at just under 350,000 words. If you love music and learning about groups outside of the mainstream, this is a must-read. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mixtape: 2015 Highlights from San Francisco Bay Area Indie Music",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of 2015 Highlights from San Francisco Bay Area Indie Music.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/2015_Highlights_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>At the Bay Bridged, we always bristle at the prospect of attempting to sum up a full year of the local independent music scene in a single retrospective podcast mixtape. Such a challenge is especially difficult in a place like the Bay Area, where year in, year out, a wide variety of talented local musicians release compelling and impressive albums, a great many of which gain acclaim well beyond the Bay’s borders.\u003c/p>\n\u003cp>Instead of trying to identify some objective list of the “ten best” albums released by Bay Area bands this year, we went exactly the opposite direction, asking our knowledgeable editors, writers and photographers to pick their personal favorite releases by local artists in 2015. As one might expect, our team’s varied musical tastes meant that only a few people named the same artists; instead, it became clear that in 2015 Bay Area independent artists continued to push forward a variety of genres, including garage rock, hip-hop, indie pop, and hardcore.\u003c/p>\n\u003cp>This mixtape collects music from ten artists that were among the favorites of Bay Bridged staffers in 2015. The notes below offer some highlights from coverage they’ve received on The Bay Bridged’s blog over the course of the year. By its nature, the mix is a musically diverse list that only barely scrapes the surface of Bay Area music in 2015, but it makes a compelling case that this year was another one packed with highlights.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> – “Lousy Connection”\u003cbr>\nWhile Oakland-based Ezra Furman has already found fame in Europe, American audiences are starting to catch up, and this year’s \u003cem>Perpetual Motion People\u003c/em> provides every reason to jump on board. As Jody Amable explained \u003ca href=\"http://thebaybridged.com/2015/06/10/ezra-furman-renewal-junkie/\">in this profile\u003c/a>, the new album, which followed after his relocation from Chicago to the Bay, marks another step forward for this talented songwriter:\u003c/p>\n\u003cblockquote>\u003cp>On this record, he seems more self-assured than he’s ever been — what was once a panicked stream of self-loathing asides now reads as a personal motto; a swaggering pride; a challenge. It’s the same subject matter — insecurities; lover’s quarrels — but backed by the the fuller band, the slicker production, and the slight serenity he’s found since coming here, it sounds like it’s coming from a more confident place. \u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sarahbethenelson\">Sarah Bethe Nelson\u003c/a>\u003c/strong> – “Uneasy”\u003cbr>\nSarah Bethe Nelson’s debut album was a strong consensus pick among Bay Bridged staffers, a testament to the killer pop hooks on \u003cem>Fast Moving Clouds\u003c/em>. Formerly the frontwoman of Prairiedog, Nelson worked with Kelley Stoltz and a bunch of talented veteran locals to record the LP and her voice and words shine throughout. Russell Jelinek \u003ca href=\"http://thebaybridged.com/2015/02/05/sarah-bethe-nelsons-fast-moving-clouds-lp-coming-out-on-burger/\">described Nelson’s song “Paying”\u003c/a> thusly:\u003c/p>\n\u003cblockquote>\u003cp>Damn! Is that a breakup song or what?!? She’s heartbroken and you get the feeling she hates to do what she’s about to do, but dammit, she’s gonna be strong. The vivid picture she paints and unique way to tell off of this no-good bum of an ex bring the story together just perfectly. And oh yeah, she and her band make some beautiful sounds in the process.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/coldbeatsf\">Cold Beat\u003c/a>\u003c/strong> – “Cracks”\u003cbr>\nArriving a little over a year after Cold Beat’s debut LP, the group’s latest, \u003cem>Into The Air\u003c/em>, found them incorporating more electronics, with synths and drum machines featured more prominently throughout. There’s a wonderful unpredictability to the band’s punk, post-punk, experimental, and pop elements: you never know quite which direction the next song will go, but it’s always a good one. We didn’t cover Cold Beat nearly enough on the Bay Bridged this year — here’s to changing that in 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/straighttothekisser\">POW!\u003c/a>\u003c/strong> – “Here Comes the Spade”\u003cbr>\nAfter making waves with the incendiary \u003cem>Hi Tech Boom\u003c/em> last year, this SF/LA synth-punk band returned in 2015 with as much or more melody and intensity. Jason Shane \u003ca href=\"http://thebaybridged.com/2015/03/04/best-of-the-rest-february-2015-six-organs-of-admittance-bad-bad-panic-is-perfect-more/\">described one of the songs\u003c/a> on this year’s \u003cem>Fight Fire\u003c/em> as “the perfect marriage of catchy pop and deliciously vicious garage rock, all played with the fervor of a band that wants to have its collective voice heard over the background noise of the class conflict present in today’s San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/LOMA-PRIETA-69571119156/\">Loma Prieta\u003c/a>\u003c/strong> – “Never Remember”\u003cbr>\n\u003cem>Self Portrait\u003c/em> is the latest intense and exhilarating album from Bay Area hardcore band Loma Prieta. As Monste Reyes \u003ca href=\"http://thebaybridged.com/2015/09/18/loma-prieta-releases-dizzying-video-love/\">observed\u003c/a>, a decade in, the band’s members “continue to push themselves with the release of each album, steering away from their screamo roots toward a heavier sound while holding fast to the ferocity and cathartic nature of hardcore.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dirtyghosts/\">Dirty Ghosts\u003c/a>\u003c/strong> – “Quicksand Castle”\u003cbr>\nDirty Ghosts took three years between their first and second LPs, a time which included lineup changes and the evolution of the band’s percolating rock and roll. Writing about the new album, Hailey Simpson \u003ca href=\"http://thebaybridged.com/2015/09/28/dirty-ghosts-premiere-moving-pictures-new-album-released-last-gang/\">observed the group’s growth\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Though the angular guitar of DG past is replaced for more of a chord-heavy/soloing balance, it is still able to conjure the moody air that the band is known and loved for. And Allyson Baker’s vocals are as smoky and undeniable as ever. Compared to their [prior] output, the pop perspective Baker credits to drummer Tony Sevener is definitely apparent — and we’re absolutely loving it.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/monsterral\">Monster Rally\u003c/a>\u003c/strong> & \u003cstrong>\u003ca href=\"https://www.facebook.com/jaystonemelodics\">Jay Stone\u003c/a>\u003c/strong> – “Lake Merritt”\u003cbr>\n\u003cem>Foreign Pedestrians\u003c/em> united LA producer Monster Rally and Oakland MC Jay Stone for an album that included collaborative songs on its A-side, and Monster Rally’s instrumental versions of the same tracks on the opposite side. Russell Jelinek \u003ca href=\"http://thebaybridged.com/2015/01/15/interview-monster-rally-jay-stone-on-foreign-pedestrians/\">described the release\u003c/a> as “fantastic,” noting that:\u003c/p>\n\u003cblockquote>\u003cp>Jay’s rhythmic and melodic flows mesh seamlessly with the tropical rhythms on the A-side, but flipping over to the instrumentals reveals nuances, colors, and moods in the beats that you might have missed. All of a sudden you’ve got to flip it over again for yet another entirely new experience.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/WeAreMakeunder\">Makeunder\u003c/a>\u003c/strong> – “What A Lovely Bandsaw!”\u003cbr>\n\u003cem>Great Headless Blank\u003c/em> saw Makeunder gain national acclaim, a result that might not be entirely expected given the EP’s mixture of ambitious experimental pop sounds and frank lyrics confronting the passing of bandleader Hamilton Ulmer’s father. Jody Amable \u003ca href=\"http://thebaybridged.com/2015/08/17/makeunder-making-great-headless-blank/\">called them\u003c/a> “Oakland’s weirdest band in years — and that’s saying something for a town that prides itself on producing bands that operate outside established musical systems. Makeunder is a lilting, twisting venture into some of music’s freest forms, full of stops and starts and sometimes otherworldly sounds.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thestonefoxes/\">The Stone Foxes\u003c/a>\u003c/strong> – “Cold Like A Killer”\u003cbr>\nThe Stone Foxes are one of the city’s best rock and roll bands, and the group reached new heights on this year’s \u003cem>Twelve Spells\u003c/em>. Quoting Jody Amable’s \u003ca href=\"http://thebaybridged.com/2015/06/25/unlikely-evolution-koehler-brothers/\">profile on the band’s founders\u003c/a>, brothers Shannon and Spence Koehler:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Twelve Spells\u003c/em> is the band — and the brothers — entering their musical adulthood. They came into the world wailing the blues, experimented in adolescence, and are now finding their footing on their fourth full-length, without leaving behind the lessons — good and bad — they learned in their early years.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Growwler\">Growwler\u003c/a>\u003c/strong> – “Long Hair, Short Wits”\u003cbr>\nThis local art-rock quartet released its first LP, \u003cem>Even Tenor\u003c/em>, earlier this year, and our Nicholas Schneider \u003ca href=\"http://thebaybridged.com/2015/05/08/interview-thriving-change-eccentric-sound-growwler/\">heaped high praise\u003c/a> on the album’s diversity and ambition:\u003c/p>\n\u003cblockquote>\u003cp>[The album] sounds like an army of talented musicians and producers descended upon the project to create a refreshingly rich and unique soundscape, incorporating everything from psychedelic head trips to bluesy rockers to folk-tinged melodies and countless subgenres in between. It’s a big, ambitious album in an age when most indie bands are scaling back due to either financial limitations or purposeful creative choice.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of 2015 Highlights from San Francisco Bay Area Indie Music.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/2015_Highlights_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>At the Bay Bridged, we always bristle at the prospect of attempting to sum up a full year of the local independent music scene in a single retrospective podcast mixtape. Such a challenge is especially difficult in a place like the Bay Area, where year in, year out, a wide variety of talented local musicians release compelling and impressive albums, a great many of which gain acclaim well beyond the Bay’s borders.\u003c/p>\n\u003cp>Instead of trying to identify some objective list of the “ten best” albums released by Bay Area bands this year, we went exactly the opposite direction, asking our knowledgeable editors, writers and photographers to pick their personal favorite releases by local artists in 2015. As one might expect, our team’s varied musical tastes meant that only a few people named the same artists; instead, it became clear that in 2015 Bay Area independent artists continued to push forward a variety of genres, including garage rock, hip-hop, indie pop, and hardcore.\u003c/p>\n\u003cp>This mixtape collects music from ten artists that were among the favorites of Bay Bridged staffers in 2015. The notes below offer some highlights from coverage they’ve received on The Bay Bridged’s blog over the course of the year. By its nature, the mix is a musically diverse list that only barely scrapes the surface of Bay Area music in 2015, but it makes a compelling case that this year was another one packed with highlights.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> – “Lousy Connection”\u003cbr>\nWhile Oakland-based Ezra Furman has already found fame in Europe, American audiences are starting to catch up, and this year’s \u003cem>Perpetual Motion People\u003c/em> provides every reason to jump on board. As Jody Amable explained \u003ca href=\"http://thebaybridged.com/2015/06/10/ezra-furman-renewal-junkie/\">in this profile\u003c/a>, the new album, which followed after his relocation from Chicago to the Bay, marks another step forward for this talented songwriter:\u003c/p>\n\u003cblockquote>\u003cp>On this record, he seems more self-assured than he’s ever been — what was once a panicked stream of self-loathing asides now reads as a personal motto; a swaggering pride; a challenge. It’s the same subject matter — insecurities; lover’s quarrels — but backed by the the fuller band, the slicker production, and the slight serenity he’s found since coming here, it sounds like it’s coming from a more confident place. \u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sarahbethenelson\">Sarah Bethe Nelson\u003c/a>\u003c/strong> – “Uneasy”\u003cbr>\nSarah Bethe Nelson’s debut album was a strong consensus pick among Bay Bridged staffers, a testament to the killer pop hooks on \u003cem>Fast Moving Clouds\u003c/em>. Formerly the frontwoman of Prairiedog, Nelson worked with Kelley Stoltz and a bunch of talented veteran locals to record the LP and her voice and words shine throughout. Russell Jelinek \u003ca href=\"http://thebaybridged.com/2015/02/05/sarah-bethe-nelsons-fast-moving-clouds-lp-coming-out-on-burger/\">described Nelson’s song “Paying”\u003c/a> thusly:\u003c/p>\n\u003cblockquote>\u003cp>Damn! Is that a breakup song or what?!? She’s heartbroken and you get the feeling she hates to do what she’s about to do, but dammit, she’s gonna be strong. The vivid picture she paints and unique way to tell off of this no-good bum of an ex bring the story together just perfectly. And oh yeah, she and her band make some beautiful sounds in the process.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/coldbeatsf\">Cold Beat\u003c/a>\u003c/strong> – “Cracks”\u003cbr>\nArriving a little over a year after Cold Beat’s debut LP, the group’s latest, \u003cem>Into The Air\u003c/em>, found them incorporating more electronics, with synths and drum machines featured more prominently throughout. There’s a wonderful unpredictability to the band’s punk, post-punk, experimental, and pop elements: you never know quite which direction the next song will go, but it’s always a good one. We didn’t cover Cold Beat nearly enough on the Bay Bridged this year — here’s to changing that in 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/straighttothekisser\">POW!\u003c/a>\u003c/strong> – “Here Comes the Spade”\u003cbr>\nAfter making waves with the incendiary \u003cem>Hi Tech Boom\u003c/em> last year, this SF/LA synth-punk band returned in 2015 with as much or more melody and intensity. Jason Shane \u003ca href=\"http://thebaybridged.com/2015/03/04/best-of-the-rest-february-2015-six-organs-of-admittance-bad-bad-panic-is-perfect-more/\">described one of the songs\u003c/a> on this year’s \u003cem>Fight Fire\u003c/em> as “the perfect marriage of catchy pop and deliciously vicious garage rock, all played with the fervor of a band that wants to have its collective voice heard over the background noise of the class conflict present in today’s San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/LOMA-PRIETA-69571119156/\">Loma Prieta\u003c/a>\u003c/strong> – “Never Remember”\u003cbr>\n\u003cem>Self Portrait\u003c/em> is the latest intense and exhilarating album from Bay Area hardcore band Loma Prieta. As Monste Reyes \u003ca href=\"http://thebaybridged.com/2015/09/18/loma-prieta-releases-dizzying-video-love/\">observed\u003c/a>, a decade in, the band’s members “continue to push themselves with the release of each album, steering away from their screamo roots toward a heavier sound while holding fast to the ferocity and cathartic nature of hardcore.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dirtyghosts/\">Dirty Ghosts\u003c/a>\u003c/strong> – “Quicksand Castle”\u003cbr>\nDirty Ghosts took three years between their first and second LPs, a time which included lineup changes and the evolution of the band’s percolating rock and roll. Writing about the new album, Hailey Simpson \u003ca href=\"http://thebaybridged.com/2015/09/28/dirty-ghosts-premiere-moving-pictures-new-album-released-last-gang/\">observed the group’s growth\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Though the angular guitar of DG past is replaced for more of a chord-heavy/soloing balance, it is still able to conjure the moody air that the band is known and loved for. And Allyson Baker’s vocals are as smoky and undeniable as ever. Compared to their [prior] output, the pop perspective Baker credits to drummer Tony Sevener is definitely apparent — and we’re absolutely loving it.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/monsterral\">Monster Rally\u003c/a>\u003c/strong> & \u003cstrong>\u003ca href=\"https://www.facebook.com/jaystonemelodics\">Jay Stone\u003c/a>\u003c/strong> – “Lake Merritt”\u003cbr>\n\u003cem>Foreign Pedestrians\u003c/em> united LA producer Monster Rally and Oakland MC Jay Stone for an album that included collaborative songs on its A-side, and Monster Rally’s instrumental versions of the same tracks on the opposite side. Russell Jelinek \u003ca href=\"http://thebaybridged.com/2015/01/15/interview-monster-rally-jay-stone-on-foreign-pedestrians/\">described the release\u003c/a> as “fantastic,” noting that:\u003c/p>\n\u003cblockquote>\u003cp>Jay’s rhythmic and melodic flows mesh seamlessly with the tropical rhythms on the A-side, but flipping over to the instrumentals reveals nuances, colors, and moods in the beats that you might have missed. All of a sudden you’ve got to flip it over again for yet another entirely new experience.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/WeAreMakeunder\">Makeunder\u003c/a>\u003c/strong> – “What A Lovely Bandsaw!”\u003cbr>\n\u003cem>Great Headless Blank\u003c/em> saw Makeunder gain national acclaim, a result that might not be entirely expected given the EP’s mixture of ambitious experimental pop sounds and frank lyrics confronting the passing of bandleader Hamilton Ulmer’s father. Jody Amable \u003ca href=\"http://thebaybridged.com/2015/08/17/makeunder-making-great-headless-blank/\">called them\u003c/a> “Oakland’s weirdest band in years — and that’s saying something for a town that prides itself on producing bands that operate outside established musical systems. Makeunder is a lilting, twisting venture into some of music’s freest forms, full of stops and starts and sometimes otherworldly sounds.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thestonefoxes/\">The Stone Foxes\u003c/a>\u003c/strong> – “Cold Like A Killer”\u003cbr>\nThe Stone Foxes are one of the city’s best rock and roll bands, and the group reached new heights on this year’s \u003cem>Twelve Spells\u003c/em>. Quoting Jody Amable’s \u003ca href=\"http://thebaybridged.com/2015/06/25/unlikely-evolution-koehler-brothers/\">profile on the band’s founders\u003c/a>, brothers Shannon and Spence Koehler:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Twelve Spells\u003c/em> is the band — and the brothers — entering their musical adulthood. They came into the world wailing the blues, experimented in adolescence, and are now finding their footing on their fourth full-length, without leaving behind the lessons — good and bad — they learned in their early years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A panel of copyright judges on Wednesday raised the amount Internet music streaming services like Pandora must pay to record labels next year and beyond.\u003c/p>\n\u003cp>The Internet radio giant hailed the ruling as “balanced” and its shares jumped, but artist and label group SoundExchange decried the decision, saying it “will erode the value of music.” SoundExchange, which distributes payments to artists and labels, said it will closely review the decision and consider its options.\u003c/p>\n\u003cp>The Copyright Royalty Board’s decision sets rates for non-interactive services like Pandora, iHeart Radio and Sirius XM for the next five years. The rates set by the board act as a minimum for services that use them as an alternative to direct deals with labels.\u003c/p>\n\u003cp>The board raised the rate for free streaming services to 17 cents per hundred plays, up from 14 cents. For paid subscription services, the rate fell to 22 cents from 25 cents. Both rates will rise with inflation through 2020.\u003c/p>\n\u003cp>Pandora CEO Brian McAndrews said in a statement the increase was one his company “can work with and grow from.” Pandora, which is based in Oakland, Calif., says its blended rate will rise 15 percent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora Media Inc. shares jumped 20 percent in after-hours trading following the decision to $16.10. Sirius XM Holdings Inc. shares dropped a penny after-hours to $4.08. IHeartMedia Inc. shares were unchanged at $1.10.\u003c/p>\n\u003cp>Regardless of the rate ruling, Pandora is seeking to expand its platform globally and to include more interactive features that go beyond its popular Internet radio service, which doesn’t allow listeners to select specific tracks or albums. It has about 80 million listeners.\u003c/p>\n\u003cp>Though it announced last month that it would be buying key technology from soon-to-be-shuttered on-demand streaming service Rdio, it needs to negotiate directly with music labels in order to launch such an interactive service. It also needs direct deals to expand beyond its current operations in the U.S., Australia and New Zealand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A panel of copyright judges on Wednesday raised the amount Internet music streaming services like Pandora must pay to record labels next year and beyond.\u003c/p>\n\u003cp>The Internet radio giant hailed the ruling as “balanced” and its shares jumped, but artist and label group SoundExchange decried the decision, saying it “will erode the value of music.” SoundExchange, which distributes payments to artists and labels, said it will closely review the decision and consider its options.\u003c/p>\n\u003cp>The Copyright Royalty Board’s decision sets rates for non-interactive services like Pandora, iHeart Radio and Sirius XM for the next five years. The rates set by the board act as a minimum for services that use them as an alternative to direct deals with labels.\u003c/p>\n\u003cp>The board raised the rate for free streaming services to 17 cents per hundred plays, up from 14 cents. For paid subscription services, the rate fell to 22 cents from 25 cents. Both rates will rise with inflation through 2020.\u003c/p>\n\u003cp>Pandora CEO Brian McAndrews said in a statement the increase was one his company “can work with and grow from.” Pandora, which is based in Oakland, Calif., says its blended rate will rise 15 percent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora Media Inc. shares jumped 20 percent in after-hours trading following the decision to $16.10. Sirius XM Holdings Inc. shares dropped a penny after-hours to $4.08. IHeartMedia Inc. shares were unchanged at $1.10.\u003c/p>\n\u003cp>Regardless of the rate ruling, Pandora is seeking to expand its platform globally and to include more interactive features that go beyond its popular Internet radio service, which doesn’t allow listeners to select specific tracks or albums. It has about 80 million listeners.\u003c/p>\n\u003cp>Though it announced last month that it would be buying key technology from soon-to-be-shuttered on-demand streaming service Rdio, it needs to negotiate directly with music labels in order to launch such an interactive service. It also needs direct deals to expand beyond its current operations in the U.S., Australia and New Zealand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long in the making, the reopening of the \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a> on University Ave. in Berkeley is official.\u003c/p>\n\u003cp>The theater — formerly a movie house well-known for its ongoing run of \u003cem>Rocky Horror Picture Show\u003c/em> midnight screenings — kicks off its music schedule March 1 with hazy-indie rockers Best Coast and Wavves appear. On March 25, beloved quirksters \u003ca href=\"http://ww2.kqed.org/arts/2015/05/04/they-might-be-giants-crazy-creative-crusade-interview/\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> perform. For a three-night run of April 7, 8 and 9, the theater hosts Grateful Dead tribute band the Dark Star Orchestra.\u003c/p>\n\u003cp>Now formally known as the UC Theatre Taube Family Music Hall, the auditorium — built in 1917 — had sat empty for almost 14 years before renovation began in March of this year. The theater is operated by the Berkeley Music Group, headed by former Bill Graham Presents chief operating officer David Mayeri.\u003c/p>\n\u003cp>For more details, see the \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre’s site\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long in the making, the reopening of the \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a> on University Ave. in Berkeley is official.\u003c/p>\n\u003cp>The theater — formerly a movie house well-known for its ongoing run of \u003cem>Rocky Horror Picture Show\u003c/em> midnight screenings — kicks off its music schedule March 1 with hazy-indie rockers Best Coast and Wavves appear. On March 25, beloved quirksters \u003ca href=\"http://ww2.kqed.org/arts/2015/05/04/they-might-be-giants-crazy-creative-crusade-interview/\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> perform. For a three-night run of April 7, 8 and 9, the theater hosts Grateful Dead tribute band the Dark Star Orchestra.\u003c/p>\n\u003cp>Now formally known as the UC Theatre Taube Family Music Hall, the auditorium — built in 1917 — had sat empty for almost 14 years before renovation began in March of this year. The theater is operated by the Berkeley Music Group, headed by former Bill Graham Presents chief operating officer David Mayeri.\u003c/p>\n\u003cp>For more details, see the \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre’s site\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "It Ain't Where Ya From, It's Where Ya At: The Year in Bay Area Hip-Hop",
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"content": "\u003cp>As block-length corrugated structures in West Oakland go, American Steel warehouse feels too legitimately industrial to host any officially ordained event. And yet this past November, hundreds of people stalked through an unlit alley and into the cavernous space for \u003cstrong>Feels IV\u003c/strong>, the latest installment of culture blog \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Wine & Bowties\u003c/strong>\u003c/a>’ recurring hip-hop and art event — in essence, an underground party masquerading as a mini-music festival. \u003c/p>\n\u003cp>Inside, photographers shot stylish urbanites staring at pictures of stylish urbanites on the walls. Rappers such as \u003cstrong>Antwon\u003c/strong> and \u003cstrong>Iamsu!\u003c/strong> stood on stage in front of images of themselves on stage—projected ad infinitum, as if caught between two mirrors. All of the frenzied, compulsive production of images, rather than smacking of the zeitgeist’s \u003ca href=\"http://www.ryot.org/are-selfies-making-kids-vapid-narcissistic-and-lazy/353601\" target=\"_blank\" rel=\"noopener\">so-called millennial vapidity\u003c/a>, reflected Bay Area hip-hop’s urgent need to document itself. If the past is any indication, outsiders probably won’t. Or if they do, they’ll get it wrong. \u003c/p>\n\u003cfigure id=\"attachment_11165977\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IamSuFeels-800x533.jpg\" alt=\"Iamsu! performs a surprise set at Feels IV in West Oakland. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-11165977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iamsu! performs a surprise set at Feels IV in West Oakland. \u003ccite>(Courtesy Wine & Bowties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the event that national critics wished to approximate the current iteration of a local sound in 2015, they most often settled for “post-hyphy.” To say the least, the category’s usefulness is limited, based as it is on events from a decade ago. Traxamillion’s definitive mid-aughts production — slinky percussion, aqueous keys, and negative space — does endure, most prominently and rewarding in the work of HBK Gang fixture \u003cstrong>P-Lo\u003c/strong>. (His \u003cem>Moovie!\u003c/em> collaboration with \u003cstrong>Kool John\u003c/strong> affirms P-Lo as a peerless, svelte local producer deserving of more distinctive rappers to work with.) But “post-hyphy,” beyond reflecting hesitance to relinquish buzz of the distant past, is exclusive and reductive; in truth, a survey of the best rap released by local artists in 2015 reveals little stylistic unity. And if the consensus of regional sound is eroding, that’s just fine; the rubble yields gems. \u003c/p>\n\u003cp>Indeed, the year’s reigning song was in part an homage to the golden era of Southern label Cash Money. “Big Tymin’,” released with a video late last year and in constant ascendance throughout 2015, crystallizes the creakily indelible flow of \u003cstrong>Nef the Pharaoh\u003c/strong>, a Vallejo emcee not yet 21 years old. There’s some precedent in his earlier catalog — the clever kiss-off to teachers in “Old School Hyphy,” the Mac Dre tribute “M.A.C,” and confident gait in “Bitch, I’m From Vallejo” — but “Big Tymin’” warrants Nef’s privileged position as a protégé of \u003cstrong>E-40\u003c/strong>, if not the heir to \u003cstrong>Mac Dre\u003c/strong>. At Thizzler Jam — a first-time festival thrown in downtown Oakland by \u003ca href=\"http://www.thizzler.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Thizzler on the Roof\u003c/strong>\u003c/a>, the foremost online source of local rap — Nef concluded his headlining set with “Big Tymin’,” by that point a KMEL staple. Then he played it again. \u003c/p>\n\u003cfigure id=\"attachment_11165978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/NefLookBack-800x538.jpg\" alt=\"Nef the Pharaoh's "Big Tymin'" traveled coast-to-coast in 2015.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-11165978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/NefLookBack.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/NefLookBack-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/NefLookBack-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh’s “Big Tymin'” traveled coast-to-coast in 2015. \u003ccite>(Instagram/Nef the Pharaoh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other local artists in 2015 excelled when they pilfered: \u003cstrong>Larry June\u003c/strong> luxuriated in the skeletal trap beats and zany ad-libs associated with Atlanta on his goofily menacing \u003cem>#GoodJobLarry\u003c/em>. Meanwhile, \u003cstrong>Jay Stone\u003c/strong> alternately evoked MF Doom’s leaden murk and quotidian scenery atop Monster Rally’s effervescent loops on \u003cem>Foreign Pedestrians\u003c/em>. And on \u003cem>808s & Dark Grapes III\u003c/em>, \u003cstrong>Main Attrakionz\u003c/strong>’s mesh-like, diffuse production proved substantial even in a post-vaporwave climate, especially coupled with the seemingly incongruous, chittering flow of affiliated emcees such as Shady Blaze. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The year’s very most assured full-length, however, belonged to Berkeley’s \u003cstrong>Caleborate\u003c/strong>. The young rapper’s debut \u003cem>Hella Good\u003c/em> teems with arresting hooks, charming humblebrags, and dexterous delivery. \u003cstrong>Wonderlust\u003c/strong> productions stand out: “From the East Bay with Love” finds a silken soul sample colliding with Caleborate’s trenchant chorus; on “SMH,” the young vocal stylist smoothly unfurls atop little more than a spare, nocturnal pulse; and “$aggin Par” feels spontaneous and freewheeling, yet Caleborate connects every missive to a boast. His flow is preternaturally sophisticated, rhythmically accommodating and exacerbating every lyrical subtlety. \u003c/p>\n\u003cfigure id=\"attachment_10359072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg\" alt=\"The Jacka\" width=\"640\" height=\"450\" class=\"size-full wp-image-10359072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka in 2014, onstage at the Phoenix Theater in Petaluma. (Courtesy Phoenix Theater)\u003c/figcaption>\u003c/figure>\n\u003cp>The year’s inarguable lowpoint precipitated another one of its best titles. On Feb. 2, an unknown assailant gunned down \u003cstrong>the Jacka\u003c/strong> in East Oakland, snuffing out the life of one of the Bay Area’s most celebrated figures months after his full-length \u003cem>What Happened to the World?\u003c/em> A few months later, \u003cem>Drought Season 3\u003c/em> appeared, posthumously completed by frequent Jacka collaborator and Cookies brand ambassador \u003cstrong>Berner\u003c/strong>. It’s somber throughout, rife with typically singsong, somewhat wheezy Jacka verses about treachery and empathy. On “Die Young,” Berner celebrates his own chart feats, rap radio be damned, while \u003cstrong>Richie Rich\u003c/strong> guests with a raspy verse about shunning the mainstream music industry back in the 1990s. Jacka, meanwhile, opens the unintentionally devastating track with a declaration: “Listen, time never phase me.” \u003c/p>\n\u003cp>The Jacka’s longevity is unparalleled; his earliest statements as a member of \u003cstrong>Mob Figaz\u003c/strong> helped define gangsta rap specifically for the Bay Area and his posthumous material ranks among this year’s best. And though the tragedy of his death guarantees a particular tenor of tribute from the area — enshrinement in the style of Mac Dre’s is underway — it also underscores the issue of credit and popular justice; Jacka’s merely regional profile speaks to the great disadvantage of Bay Area rappers. \u003c/p>\n\u003cfigure id=\"attachment_11143654\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-800x500.jpg\" alt=\"Kehlani's 'You Should Be Here' was released by the Oakland singer as a free mixtape in April; it quickly shot to the Grammy nomination list.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11143654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani’s ‘You Should Be Here’ was released by the Oakland singer as a free mixtape in April; it quickly shot to the Grammy nomination list. \u003ccite>(Kehlani/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, the Oakland singer \u003cstrong>Kehlani\u003c/strong>’s breakout, which culminated this month in a Grammy nomination, apparently required a move to Los Angeles. Her crowning \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">\u003cem>Fader\u003c/em> cover feature\u003c/a> this year made little mention of the Bay Area, despite her HBK Gang membership and industry connections formed through the \u003cstrong>D’Wayne Wiggins\u003c/strong>-managed teen group PopLyfe. Kehlani’s ascension even invited speculation that she’s something of an “\u003ca href=\"http://www.ign.com/boards/threads/ok-so-are-we-going-to-discuss-how-kehlani-came-outta-nowhere.454474367/\" target=\"_blank\" rel=\"noopener\">industry plant\u003c/a>”; only a major label conspiracy, the assumption goes, could propel a Bay Area artist. \u003c/p>\n\u003cp>Indeed, the Bay Area rap injustice narrative usually involves hyphy’s untimely proliferation, which narrowly preceded a new era of \u003ca href=\"http://www.spin.com/2014/03/bay-area-rap-revolution-hbk-gang-iamsu/\" target=\"_blank\" rel=\"noopener\">internet-assisted viral fame\u003c/a> and gatekeeper bypassing. And yet social media saturation hardly provides autonomy. As the writer Doreen St. Felix \u003ca href=\"http://www.thefader.com/2015/12/03/on-fleek-peaches-monroee-meechie-viral-vines\" target=\"_blank\" rel=\"noopener\">recently illuminated\u003c/a>, viral reach doesn’t guarantee innovators credit or compensation, especially not for young people of color. In other words, though many Bay Area artists double as mini-marketing mavens, recognition remains just as elusive. The old impediments — a lack of infrastructure and media — remain, perhaps exacerbated by the shrinking major labels’ intensifying risk-aversion. \u003c/p>\n\u003cfigure id=\"attachment_10886964\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Kendrick-800x533.jpg\" alt=\"Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10886964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED) \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider \u003cstrong>Kendrick Lamar\u003c/strong>’s “Alright” — to many critics, the song of the year. Its seductively ambiguous message about hope in the face of police repression resonates with mainstream audiences and \u003ca href=\"https://twitter.com/thehilltophu/status/652838787492519936\" target=\"_blank\" rel=\"noopener\">protestors alike\u003c/a>. And the song’s award-winning video is in many ways a grand gesture to the Bay Area: director \u003cstrong>Colin Tilley\u003c/strong> grew up in Berkeley; the primary set is Treasure Island; Bay Area rappers \u003cstrong>Ezale\u003c/strong> and \u003cstrong>Los Rakas\u003c/strong> appear in the crowd; and local turf dancing features prominently. Further, its thematic resonance with post-Ferguson protestors evokes Oakland, where the rhetoric and scope of outrage in the wake of Oscar Grant’s 2009 killing prefigured the Black Lives Matter movement. And yet, to \u003ca href=\"http://pitchfork.com/features/staff-lists/9763-the-best-music-videos-of-2015/3/\" target=\"_blank\" rel=\"noopener\">prominent commentators\u003c/a>, “Alright” is a Los Angeles production. \u003c/p>\n\u003cp>In that spirit, local authorities prove enduringly hostile to rap: In March, a cabal of San Francisco police officers \u003ca href=\"http://www.sfweekly.com/shookdown/2015/03/13/watch-two-arrested-during-yung-lott-music-video-shoot-in-bayview-hunters-point\" target=\"_blank\" rel=\"noopener\">detained 19 men shooting a \u003cstrong>Yung Lott\u003c/strong> music video\u003c/a> in Hunters Point, citing the proximity of an armed suspect as probable cause for the mass handcuffing, photographing, and confiscation of personal belongings. An ensuing Federal Civil Rights Lawsuit argued that the cops deliberately “created a scenario where if these young African-American men had moved out of innocent fear, the SFPD officers would have gunned down the entire group.”\u003c/p>\n\u003cfigure id=\"attachment_11165979\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LilB-800x522.jpg\" alt='The \"Lil B curse\" targeted James Harden specifically, but its subtext implicated all who steal creativity from the Bay Area.' width=\"800\" height=\"522\" class=\"size-medium wp-image-11165979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LilB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LilB-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LilB-768x501.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Lil B curse” targeted James Harden specifically, but its subtext implicated all who steal creativity from the Bay Area.\u003c/figcaption>\u003c/figure>\n\u003cp>In Oakland, local law enforcement \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/01/22/bay-area-freshmen-10-showcase-to-be-rescheduled-following-opd-concerns\" target=\"_blank\" rel=\"noopener\">preemptively meddled in live hip-hop lineups\u003c/a> and, at promoters’ expense, required oversight at concerts — burdens spared from other genres. And county prosecutors’ practice of admitting rap lyrics and videos as evidence in criminal trials — often as efforts to exploit juror prejudice against young black men — \u003ca href=\"http://www.eastbayexpress.com/oakland/raps-poetic-license-revoked/Content?oid=4260991\" target=\"_blank\" rel=\"noopener\">emerged as a distinct pattern\u003c/a>. (Beleaguering homespun cultural exports is something of a civic tradition: in 1989, the City of Oakland \u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/kaiser\" target=\"_blank\" rel=\"noopener\">formally banned live hip-hop for a year\u003c/a>, just in time for the popular explosion of \u003cstrong>Too $hort\u003c/strong> and \u003cstrong>Digital Underground\u003c/strong>.) \u003c/p>\n\u003cp>Fortunately, the Bay Area is also home to contemporary hip-hop’s most singular figure, \u003cstrong>Lil B\u003c/strong>. And in 2015, the rapper whose outsized influence remains least appreciated enacted retribution. It was the NBA playoffs. \u003cstrong>James Harden\u003c/strong>, shooting guard of the Houston Rockets, poached Lil B’s cooking dance. The rapper, vocally displeased, cast a hex against the player, whose cursed on-court performance sharply declined. The “\u003ca href=\"http://www.complex.com/sports/2015/10/lil-b-james-harden-curse\" target=\"_blank\" rel=\"noopener\">Lil B curse\u003c/a>” garnered more media attention than any musical release by a local artist in 2015.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And though few extrapolated on the news peg, its symbolism couldn’t be more potent. Lil B’s supernatural gesture punished not only the celebrity who stole his intellectual property, but the pirating benefactors at large, too many to name, that have stolen Bay Area hip-hop innovations throughout history.\u003c/p>\n\n",
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"excerpt": "In 2015, the Bay Area rap underground cast off the shackles of its \"post-hyphy\" past for exciting new sounds and moves.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As block-length corrugated structures in West Oakland go, American Steel warehouse feels too legitimately industrial to host any officially ordained event. And yet this past November, hundreds of people stalked through an unlit alley and into the cavernous space for \u003cstrong>Feels IV\u003c/strong>, the latest installment of culture blog \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Wine & Bowties\u003c/strong>\u003c/a>’ recurring hip-hop and art event — in essence, an underground party masquerading as a mini-music festival. \u003c/p>\n\u003cp>Inside, photographers shot stylish urbanites staring at pictures of stylish urbanites on the walls. Rappers such as \u003cstrong>Antwon\u003c/strong> and \u003cstrong>Iamsu!\u003c/strong> stood on stage in front of images of themselves on stage—projected ad infinitum, as if caught between two mirrors. All of the frenzied, compulsive production of images, rather than smacking of the zeitgeist’s \u003ca href=\"http://www.ryot.org/are-selfies-making-kids-vapid-narcissistic-and-lazy/353601\" target=\"_blank\" rel=\"noopener\">so-called millennial vapidity\u003c/a>, reflected Bay Area hip-hop’s urgent need to document itself. If the past is any indication, outsiders probably won’t. Or if they do, they’ll get it wrong. \u003c/p>\n\u003cfigure id=\"attachment_11165977\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IamSuFeels-800x533.jpg\" alt=\"Iamsu! performs a surprise set at Feels IV in West Oakland. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-11165977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IamSuFeels.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iamsu! performs a surprise set at Feels IV in West Oakland. \u003ccite>(Courtesy Wine & Bowties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the event that national critics wished to approximate the current iteration of a local sound in 2015, they most often settled for “post-hyphy.” To say the least, the category’s usefulness is limited, based as it is on events from a decade ago. Traxamillion’s definitive mid-aughts production — slinky percussion, aqueous keys, and negative space — does endure, most prominently and rewarding in the work of HBK Gang fixture \u003cstrong>P-Lo\u003c/strong>. (His \u003cem>Moovie!\u003c/em> collaboration with \u003cstrong>Kool John\u003c/strong> affirms P-Lo as a peerless, svelte local producer deserving of more distinctive rappers to work with.) But “post-hyphy,” beyond reflecting hesitance to relinquish buzz of the distant past, is exclusive and reductive; in truth, a survey of the best rap released by local artists in 2015 reveals little stylistic unity. And if the consensus of regional sound is eroding, that’s just fine; the rubble yields gems. \u003c/p>\n\u003cp>Indeed, the year’s reigning song was in part an homage to the golden era of Southern label Cash Money. “Big Tymin’,” released with a video late last year and in constant ascendance throughout 2015, crystallizes the creakily indelible flow of \u003cstrong>Nef the Pharaoh\u003c/strong>, a Vallejo emcee not yet 21 years old. There’s some precedent in his earlier catalog — the clever kiss-off to teachers in “Old School Hyphy,” the Mac Dre tribute “M.A.C,” and confident gait in “Bitch, I’m From Vallejo” — but “Big Tymin’” warrants Nef’s privileged position as a protégé of \u003cstrong>E-40\u003c/strong>, if not the heir to \u003cstrong>Mac Dre\u003c/strong>. At Thizzler Jam — a first-time festival thrown in downtown Oakland by \u003ca href=\"http://www.thizzler.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Thizzler on the Roof\u003c/strong>\u003c/a>, the foremost online source of local rap — Nef concluded his headlining set with “Big Tymin’,” by that point a KMEL staple. Then he played it again. \u003c/p>\n\u003cfigure id=\"attachment_11165978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/NefLookBack-800x538.jpg\" alt=\"Nef the Pharaoh's "Big Tymin'" traveled coast-to-coast in 2015.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-11165978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/NefLookBack.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/NefLookBack-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/NefLookBack-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh’s “Big Tymin'” traveled coast-to-coast in 2015. \u003ccite>(Instagram/Nef the Pharaoh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other local artists in 2015 excelled when they pilfered: \u003cstrong>Larry June\u003c/strong> luxuriated in the skeletal trap beats and zany ad-libs associated with Atlanta on his goofily menacing \u003cem>#GoodJobLarry\u003c/em>. Meanwhile, \u003cstrong>Jay Stone\u003c/strong> alternately evoked MF Doom’s leaden murk and quotidian scenery atop Monster Rally’s effervescent loops on \u003cem>Foreign Pedestrians\u003c/em>. And on \u003cem>808s & Dark Grapes III\u003c/em>, \u003cstrong>Main Attrakionz\u003c/strong>’s mesh-like, diffuse production proved substantial even in a post-vaporwave climate, especially coupled with the seemingly incongruous, chittering flow of affiliated emcees such as Shady Blaze. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The year’s very most assured full-length, however, belonged to Berkeley’s \u003cstrong>Caleborate\u003c/strong>. The young rapper’s debut \u003cem>Hella Good\u003c/em> teems with arresting hooks, charming humblebrags, and dexterous delivery. \u003cstrong>Wonderlust\u003c/strong> productions stand out: “From the East Bay with Love” finds a silken soul sample colliding with Caleborate’s trenchant chorus; on “SMH,” the young vocal stylist smoothly unfurls atop little more than a spare, nocturnal pulse; and “$aggin Par” feels spontaneous and freewheeling, yet Caleborate connects every missive to a boast. His flow is preternaturally sophisticated, rhythmically accommodating and exacerbating every lyrical subtlety. \u003c/p>\n\u003cfigure id=\"attachment_10359072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg\" alt=\"The Jacka\" width=\"640\" height=\"450\" class=\"size-full wp-image-10359072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka in 2014, onstage at the Phoenix Theater in Petaluma. (Courtesy Phoenix Theater)\u003c/figcaption>\u003c/figure>\n\u003cp>The year’s inarguable lowpoint precipitated another one of its best titles. On Feb. 2, an unknown assailant gunned down \u003cstrong>the Jacka\u003c/strong> in East Oakland, snuffing out the life of one of the Bay Area’s most celebrated figures months after his full-length \u003cem>What Happened to the World?\u003c/em> A few months later, \u003cem>Drought Season 3\u003c/em> appeared, posthumously completed by frequent Jacka collaborator and Cookies brand ambassador \u003cstrong>Berner\u003c/strong>. It’s somber throughout, rife with typically singsong, somewhat wheezy Jacka verses about treachery and empathy. On “Die Young,” Berner celebrates his own chart feats, rap radio be damned, while \u003cstrong>Richie Rich\u003c/strong> guests with a raspy verse about shunning the mainstream music industry back in the 1990s. Jacka, meanwhile, opens the unintentionally devastating track with a declaration: “Listen, time never phase me.” \u003c/p>\n\u003cp>The Jacka’s longevity is unparalleled; his earliest statements as a member of \u003cstrong>Mob Figaz\u003c/strong> helped define gangsta rap specifically for the Bay Area and his posthumous material ranks among this year’s best. And though the tragedy of his death guarantees a particular tenor of tribute from the area — enshrinement in the style of Mac Dre’s is underway — it also underscores the issue of credit and popular justice; Jacka’s merely regional profile speaks to the great disadvantage of Bay Area rappers. \u003c/p>\n\u003cfigure id=\"attachment_11143654\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-800x500.jpg\" alt=\"Kehlani's 'You Should Be Here' was released by the Oakland singer as a free mixtape in April; it quickly shot to the Grammy nomination list.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11143654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GrammyMAIN1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani’s ‘You Should Be Here’ was released by the Oakland singer as a free mixtape in April; it quickly shot to the Grammy nomination list. \u003ccite>(Kehlani/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, the Oakland singer \u003cstrong>Kehlani\u003c/strong>’s breakout, which culminated this month in a Grammy nomination, apparently required a move to Los Angeles. Her crowning \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">\u003cem>Fader\u003c/em> cover feature\u003c/a> this year made little mention of the Bay Area, despite her HBK Gang membership and industry connections formed through the \u003cstrong>D’Wayne Wiggins\u003c/strong>-managed teen group PopLyfe. Kehlani’s ascension even invited speculation that she’s something of an “\u003ca href=\"http://www.ign.com/boards/threads/ok-so-are-we-going-to-discuss-how-kehlani-came-outta-nowhere.454474367/\" target=\"_blank\" rel=\"noopener\">industry plant\u003c/a>”; only a major label conspiracy, the assumption goes, could propel a Bay Area artist. \u003c/p>\n\u003cp>Indeed, the Bay Area rap injustice narrative usually involves hyphy’s untimely proliferation, which narrowly preceded a new era of \u003ca href=\"http://www.spin.com/2014/03/bay-area-rap-revolution-hbk-gang-iamsu/\" target=\"_blank\" rel=\"noopener\">internet-assisted viral fame\u003c/a> and gatekeeper bypassing. And yet social media saturation hardly provides autonomy. As the writer Doreen St. Felix \u003ca href=\"http://www.thefader.com/2015/12/03/on-fleek-peaches-monroee-meechie-viral-vines\" target=\"_blank\" rel=\"noopener\">recently illuminated\u003c/a>, viral reach doesn’t guarantee innovators credit or compensation, especially not for young people of color. In other words, though many Bay Area artists double as mini-marketing mavens, recognition remains just as elusive. The old impediments — a lack of infrastructure and media — remain, perhaps exacerbated by the shrinking major labels’ intensifying risk-aversion. \u003c/p>\n\u003cfigure id=\"attachment_10886964\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Kendrick-800x533.jpg\" alt=\"Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10886964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED) \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider \u003cstrong>Kendrick Lamar\u003c/strong>’s “Alright” — to many critics, the song of the year. Its seductively ambiguous message about hope in the face of police repression resonates with mainstream audiences and \u003ca href=\"https://twitter.com/thehilltophu/status/652838787492519936\" target=\"_blank\" rel=\"noopener\">protestors alike\u003c/a>. And the song’s award-winning video is in many ways a grand gesture to the Bay Area: director \u003cstrong>Colin Tilley\u003c/strong> grew up in Berkeley; the primary set is Treasure Island; Bay Area rappers \u003cstrong>Ezale\u003c/strong> and \u003cstrong>Los Rakas\u003c/strong> appear in the crowd; and local turf dancing features prominently. Further, its thematic resonance with post-Ferguson protestors evokes Oakland, where the rhetoric and scope of outrage in the wake of Oscar Grant’s 2009 killing prefigured the Black Lives Matter movement. And yet, to \u003ca href=\"http://pitchfork.com/features/staff-lists/9763-the-best-music-videos-of-2015/3/\" target=\"_blank\" rel=\"noopener\">prominent commentators\u003c/a>, “Alright” is a Los Angeles production. \u003c/p>\n\u003cp>In that spirit, local authorities prove enduringly hostile to rap: In March, a cabal of San Francisco police officers \u003ca href=\"http://www.sfweekly.com/shookdown/2015/03/13/watch-two-arrested-during-yung-lott-music-video-shoot-in-bayview-hunters-point\" target=\"_blank\" rel=\"noopener\">detained 19 men shooting a \u003cstrong>Yung Lott\u003c/strong> music video\u003c/a> in Hunters Point, citing the proximity of an armed suspect as probable cause for the mass handcuffing, photographing, and confiscation of personal belongings. An ensuing Federal Civil Rights Lawsuit argued that the cops deliberately “created a scenario where if these young African-American men had moved out of innocent fear, the SFPD officers would have gunned down the entire group.”\u003c/p>\n\u003cfigure id=\"attachment_11165979\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LilB-800x522.jpg\" alt='The \"Lil B curse\" targeted James Harden specifically, but its subtext implicated all who steal creativity from the Bay Area.' width=\"800\" height=\"522\" class=\"size-medium wp-image-11165979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LilB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LilB-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LilB-768x501.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Lil B curse” targeted James Harden specifically, but its subtext implicated all who steal creativity from the Bay Area.\u003c/figcaption>\u003c/figure>\n\u003cp>In Oakland, local law enforcement \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/01/22/bay-area-freshmen-10-showcase-to-be-rescheduled-following-opd-concerns\" target=\"_blank\" rel=\"noopener\">preemptively meddled in live hip-hop lineups\u003c/a> and, at promoters’ expense, required oversight at concerts — burdens spared from other genres. And county prosecutors’ practice of admitting rap lyrics and videos as evidence in criminal trials — often as efforts to exploit juror prejudice against young black men — \u003ca href=\"http://www.eastbayexpress.com/oakland/raps-poetic-license-revoked/Content?oid=4260991\" target=\"_blank\" rel=\"noopener\">emerged as a distinct pattern\u003c/a>. (Beleaguering homespun cultural exports is something of a civic tradition: in 1989, the City of Oakland \u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/kaiser\" target=\"_blank\" rel=\"noopener\">formally banned live hip-hop for a year\u003c/a>, just in time for the popular explosion of \u003cstrong>Too $hort\u003c/strong> and \u003cstrong>Digital Underground\u003c/strong>.) \u003c/p>\n\u003cp>Fortunately, the Bay Area is also home to contemporary hip-hop’s most singular figure, \u003cstrong>Lil B\u003c/strong>. And in 2015, the rapper whose outsized influence remains least appreciated enacted retribution. It was the NBA playoffs. \u003cstrong>James Harden\u003c/strong>, shooting guard of the Houston Rockets, poached Lil B’s cooking dance. The rapper, vocally displeased, cast a hex against the player, whose cursed on-court performance sharply declined. The “\u003ca href=\"http://www.complex.com/sports/2015/10/lil-b-james-harden-curse\" target=\"_blank\" rel=\"noopener\">Lil B curse\u003c/a>” garnered more media attention than any musical release by a local artist in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And though few extrapolated on the news peg, its symbolism couldn’t be more potent. Lil B’s supernatural gesture punished not only the celebrity who stole his intellectual property, but the pirating benefactors at large, too many to name, that have stolen Bay Area hip-hop innovations throughout history.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Music Announces Second Annual Tiny Desk Contest",
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"content": "\u003cp>Bay Area bands, start your engines. Er, clear your desks? NPR’s second annual Tiny Desk Contest is upon us.\u003c/p>\n\u003cp>The contest, which invites artists to compete for the chance to shoot their own Tiny Desk Concert at NPR’s studios in Washington, D.C., kicks off Jan. 12, 2016 and will accept entries through Feb. 2. \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">See details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/tdc_logo.png\" alt=\"tdc_logo\" width=\"630\" height=\"273\" class=\"aligncenter size-full wp-image-11163610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo.png 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo-400x173.png 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003c/p>\n\u003cp>The inaugural contest saw some 7,000 submissions from all 50 states during the seven-week submission period — but in the end, the winner was Oakland native Fantastic Negrito, a bluesman who puts on an incredible live show, with an \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">incredible back story to boot. \u003c/a>The \u003ca href=\"https://www.youtube.com/watch?v=7kWEhIXVPJA\" target=\"_blank\" rel=\"noopener\">winning video\u003c/a> was shot in an impressively cramped freight elevator in Oakland.\u003c/p>\n\u003cp>In the nearly 10 months since his win, the artist (real name: Xavier Dphrepaulezz) has ridden an \u003ca href=\"http://artsbeat.blogs.nytimes.com/2015/03/19/sxsw-music-2015-an-empire-writer-finale-tries-to-make-his-way-as-a-music-producer-in-austin/?_r=0\" target=\"_blank\" rel=\"noopener\">impressive wave \u003c/a>of \u003ca href=\"http://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">national buzz\u003c/a>, including a blowout performance at South By Southwest and a high-profile spot at San Francisco’s own Outside Lands — though that latter scheduled performance was replaced with an even higher-profile, \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">arguably unjustified arrest\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Fantastic Negrito, the 2016 winner will appear at a taping of NPR’s Ask Me Another and at other events hosted by NPR Music and sponsor Lagunitas across the U.S.\u003c/p>\n\u003cp>To enter, artists must be at least 21 years old and live in the United States; video submissions are to be no longer than 10 minutes. See the full rules and regulations \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a shot of local pride, check out Fantastic Negrito’s Tiny Desk Concert below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ymYjwsFz8iM\u003c/p>\n\n",
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"excerpt": "The Tiny Desk Contest -- which launched Oakland native Fantastic Negrito to fame in 2015 -- begins accepting submissions on Jan. 12. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area bands, start your engines. Er, clear your desks? NPR’s second annual Tiny Desk Contest is upon us.\u003c/p>\n\u003cp>The contest, which invites artists to compete for the chance to shoot their own Tiny Desk Concert at NPR’s studios in Washington, D.C., kicks off Jan. 12, 2016 and will accept entries through Feb. 2. \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">See details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/tdc_logo.png\" alt=\"tdc_logo\" width=\"630\" height=\"273\" class=\"aligncenter size-full wp-image-11163610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo.png 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo-400x173.png 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003c/p>\n\u003cp>The inaugural contest saw some 7,000 submissions from all 50 states during the seven-week submission period — but in the end, the winner was Oakland native Fantastic Negrito, a bluesman who puts on an incredible live show, with an \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">incredible back story to boot. \u003c/a>The \u003ca href=\"https://www.youtube.com/watch?v=7kWEhIXVPJA\" target=\"_blank\" rel=\"noopener\">winning video\u003c/a> was shot in an impressively cramped freight elevator in Oakland.\u003c/p>\n\u003cp>In the nearly 10 months since his win, the artist (real name: Xavier Dphrepaulezz) has ridden an \u003ca href=\"http://artsbeat.blogs.nytimes.com/2015/03/19/sxsw-music-2015-an-empire-writer-finale-tries-to-make-his-way-as-a-music-producer-in-austin/?_r=0\" target=\"_blank\" rel=\"noopener\">impressive wave \u003c/a>of \u003ca href=\"http://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">national buzz\u003c/a>, including a blowout performance at South By Southwest and a high-profile spot at San Francisco’s own Outside Lands — though that latter scheduled performance was replaced with an even higher-profile, \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">arguably unjustified arrest\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Fantastic Negrito, the 2016 winner will appear at a taping of NPR’s Ask Me Another and at other events hosted by NPR Music and sponsor Lagunitas across the U.S.\u003c/p>\n\u003cp>To enter, artists must be at least 21 years old and live in the United States; video submissions are to be no longer than 10 minutes. See the full rules and regulations \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a shot of local pride, check out Fantastic Negrito’s Tiny Desk Concert below.\u003c/p>\n\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/ymYjwsFz8iM'\n title='//www.youtube.com/embed/ymYjwsFz8iM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Listen In: K. Flay, \"It's Strange\" (with Louis the Child)",
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"headTitle": "Listen In: K. Flay, “It’s Strange” (with Louis the Child) | KQED",
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"content": "\u003cp>As Freud might say, “Sometimes an EDM drop is just an EDM drop.”\u003c/p>\n\u003cp>But more often, a \u003ca href=\"https://en.wikipedia.org/wiki/Drop_%28music%29\" target=\"_blank\" rel=\"noopener\">drop\u003c/a> can add context and depth to a song that might otherwise simply be an excuse to get down. That’s certainly the case for “It’s Strange,” as the ecstatic break courtesy of Chicago production duo \u003ca href=\"http://louisthechild.com/\" target=\"_blank\" rel=\"noopener\">Louis the Child\u003c/a> throws the vulnerability underlying K. Flay’s mournful verses into sharp relief. “It’s Strange” keeps you dancing even as it breaks your heart — a perfect combo that in October even garnered the \u003ca href=\"https://www.instagram.com/p/8hVAsWjvAR/\" target=\"_blank\" rel=\"noopener\">attention of Taylor Swift\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/237564175″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Listen in as K. Flay discusses her serendipitous connection to the song’s beatmakers, her Gumby-style dance moves and the personal relationships that inspired “It’s Strange” in this episode of the podcast, recorded in and around San Francisco’s legendary Fillmore Auditorium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headline": "Listen In: K. Flay, \"It's Strange\" (with Louis the Child)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Freud might say, “Sometimes an EDM drop is just an EDM drop.”\u003c/p>\n\u003cp>But more often, a \u003ca href=\"https://en.wikipedia.org/wiki/Drop_%28music%29\" target=\"_blank\" rel=\"noopener\">drop\u003c/a> can add context and depth to a song that might otherwise simply be an excuse to get down. That’s certainly the case for “It’s Strange,” as the ecstatic break courtesy of Chicago production duo \u003ca href=\"http://louisthechild.com/\" target=\"_blank\" rel=\"noopener\">Louis the Child\u003c/a> throws the vulnerability underlying K. Flay’s mournful verses into sharp relief. “It’s Strange” keeps you dancing even as it breaks your heart — a perfect combo that in October even garnered the \u003ca href=\"https://www.instagram.com/p/8hVAsWjvAR/\" target=\"_blank\" rel=\"noopener\">attention of Taylor Swift\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/237564175″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/237564175″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen in as K. Flay discusses her serendipitous connection to the song’s beatmakers, her Gumby-style dance moves and the personal relationships that inspired “It’s Strange” in this episode of the podcast, recorded in and around San Francisco’s legendary Fillmore Auditorium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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