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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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"description": "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. 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. 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",
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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",
"headTitle": "It Ain’t Where Ya From, It’s Where Ya At: The Year in Bay Area Hip-Hop | KQED",
"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",
"headTitle": "NPR Music Announces Second Annual Tiny Desk Contest | KQED",
"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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"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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"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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"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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"content": "\u003cp>Adele, the biggest success story of 2015, has announced a North American tour with three Bay Area dates: July 30 and 31 at the SAP Center in San Jose, and Aug. 2 at the Oracle Arena in Oakland. Tickets go on sale to the general public this Thursday, Dec. 17th, at 10am \u003ca href=\"http://www.ticketmaster.com/Adele-tickets/artist/1159272\" target=\"_blank\" rel=\"noopener\">right here\u003c/a>. \u003c/p>\n\u003cp>Considering that Adele’s latest album \u003cem>25\u003c/em> has sold a monumental five million copies (\u003ca href=\"http://www.theguardian.com/music/2015/dec/11/adele-25-hits-5m-sales-mark-in-the-us\" target=\"_blank\" rel=\"noopener\">and counting\u003c/a>), tickets for the singer’s shows are sure to be in extremely high demand — with all the usual scalpers, resale sites and other soulless vultures preparing to buy up as many tickets as possible.\u003c/p>\n\u003cp>Here’s where things get interesting. Normally, a tour like this would have sponsors fighting tooth-and-nail to be part of a ticket presale. But Adele is nothing if not egalitarian: amazingly, there seem to be no sponsored presale offers at all — not from credit card companies (a usual suspect) or even the promoters’ own mobile apps. Everyone has the same shot at tickets on Thursday morning.\u003c/p>\n\u003cp>On Wednesday morning, however, there’s a fan club presale for those who’ve signed up on Adele.com. The hitch? Registration for her fan club has been closed until Dec. 18 to beat the fair-weather fans and last-minute scalpers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg\" alt=\"adele\" width=\"800\" height=\"278\" class=\"aligncenter size-medium wp-image-11165747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-400x139.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-768x267.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele.jpg 803w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Furthermore, at least for some of her European dates, Adele is \u003ca href=\"http://www.billboard.com/articles/business/6784895/adele-tickets-security-stubhub-scalpers\" target=\"_blank\" rel=\"noopener\">requiring security to check IDs\u003c/a> at venue entrances to ensure the name on the ticket and the person holding it match up; also, tickets showing up on secondhand sites are \u003ca href=\"http://metro.co.uk/2015/12/07/adele-tickets-bought-from-touts-will-be-cancelled-5549399/\" target=\"_blank\" rel=\"noopener\">threatened with cancellation\u003c/a>. If these anti-scapling policies are extended to the U.S. leg of her tour, the impact could be \u003cem>huge\u003c/em>. Tactics to fight scalping can have their own set of problems, but for diehard fans, they’re much better than being forced to pay insanely inflated prices for tickets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Out tip for Thursday? Open as many browsers as you can, and click “refresh” with crossed fingers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adele, the biggest success story of 2015, has announced a North American tour with three Bay Area dates: July 30 and 31 at the SAP Center in San Jose, and Aug. 2 at the Oracle Arena in Oakland. Tickets go on sale to the general public this Thursday, Dec. 17th, at 10am \u003ca href=\"http://www.ticketmaster.com/Adele-tickets/artist/1159272\" target=\"_blank\" rel=\"noopener\">right here\u003c/a>. \u003c/p>\n\u003cp>Considering that Adele’s latest album \u003cem>25\u003c/em> has sold a monumental five million copies (\u003ca href=\"http://www.theguardian.com/music/2015/dec/11/adele-25-hits-5m-sales-mark-in-the-us\" target=\"_blank\" rel=\"noopener\">and counting\u003c/a>), tickets for the singer’s shows are sure to be in extremely high demand — with all the usual scalpers, resale sites and other soulless vultures preparing to buy up as many tickets as possible.\u003c/p>\n\u003cp>Here’s where things get interesting. Normally, a tour like this would have sponsors fighting tooth-and-nail to be part of a ticket presale. But Adele is nothing if not egalitarian: amazingly, there seem to be no sponsored presale offers at all — not from credit card companies (a usual suspect) or even the promoters’ own mobile apps. Everyone has the same shot at tickets on Thursday morning.\u003c/p>\n\u003cp>On Wednesday morning, however, there’s a fan club presale for those who’ve signed up on Adele.com. The hitch? Registration for her fan club has been closed until Dec. 18 to beat the fair-weather fans and last-minute scalpers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg\" alt=\"adele\" width=\"800\" height=\"278\" class=\"aligncenter size-medium wp-image-11165747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-400x139.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-768x267.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele.jpg 803w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Furthermore, at least for some of her European dates, Adele is \u003ca href=\"http://www.billboard.com/articles/business/6784895/adele-tickets-security-stubhub-scalpers\" target=\"_blank\" rel=\"noopener\">requiring security to check IDs\u003c/a> at venue entrances to ensure the name on the ticket and the person holding it match up; also, tickets showing up on secondhand sites are \u003ca href=\"http://metro.co.uk/2015/12/07/adele-tickets-bought-from-touts-will-be-cancelled-5549399/\" target=\"_blank\" rel=\"noopener\">threatened with cancellation\u003c/a>. If these anti-scapling policies are extended to the U.S. leg of her tour, the impact could be \u003cem>huge\u003c/em>. Tactics to fight scalping can have their own set of problems, but for diehard fans, they’re much better than being forced to pay insanely inflated prices for tickets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Out tip for Thursday? Open as many browsers as you can, and click “refresh” with crossed fingers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-top-10-bay-area-jazz-releases-of-2015",
"title": "The Top 10 Bay Area Jazz Releases of 2015",
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"headTitle": "The Top 10 Bay Area Jazz Releases of 2015 | KQED",
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"content": "\u003cp>Looking over the jazz albums I kept returning to in 2015 — a year in which Spotify, Pandora and other streaming services have further elevated standalone singles — I’m struck by the way each artist engages with the album format to make a larger musical statement. In almost every case, the releases capture a highly personal vision, woven through the entire project.\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>From Tiffany Austin’s funky and footloose old-wine-in-new-bottles take on Hoagy Carmichael to Ben Goldberg’s exquisite chamber-jazz-meets-art-song journey into the world of poet and philosopher Allen Grossman, these albums add up to more than the sum of their considerable parts. Another trend that stands out is that the Bay Area’s already-deep pool of vocal talent continues to grow apace.\u003c/p>\n\u003cp>Here are my 10 favorite jazz albums of 2015, in alphabetical order (with an additional slate of excellent local releases, any of which could have easily slid into the top 10).\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155374\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Antonioli-400x356.jpg\" alt=\"Laurie Antonioli & Richie Beirach - 'Varuna'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155374\">\u003cfigcaption class=\"wp-caption-text\">Laurie Antonioli & Richie Beirach – ‘Varuna’\u003c/figcaption>\u003c/figure>\n\u003ch3>Laurie Antonioli & Richie Beirach – \u003cem>Varuna\u003c/em>\u003c/h3>\n\u003ch5>(Origin Records)\u003c/h5>\n\u003cp>A veteran jazz singer who leads one of the best working bands on the scene, Antonioli has also converged intermittently over the years with Beirach, a probing post-bop pianist with a strong feel for European classical music. The album features one striking passage after another, centering on the transporting “Resolution Suite,” a free improv epiphany in three brief movements.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155375\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TiffanyAustin-400x355.jpg\" alt=\"Tiffany Austin - 'Nothing But Soul'\" width=\"400\" height=\"355\" class=\"size-thumbnail wp-image-11155375\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin – ‘Nothing But Soul’\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Austin – \u003cem>Nothing But Soul\u003c/em>\u003c/h3>\n\u003ch5>(Con Alma Music)\u003c/h5>\n\u003cp>Working with tenor saxophonist Howard Wiley, Austin this year delivered one of the most joyful and exuberant debut recordings in recent memory. Focusing on the songs of Hoagy Carmichael (with a few ringers) she puts her own stamp on tunes that have been around the block, including a sly version of “Baltimore Oriole” and her luscious reading of “Skylark.” (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155376\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AlexConde-400x416.jpg\" alt=\"Alex Conde - 'Descarga For Monk'\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-11155376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Conde – ‘Descarga For Monk’\u003c/figcaption>\u003c/figure>\n\u003ch3>Alex Conde – \u003cem>Descarga For Monk\u003c/em>\u003c/h3>\n\u003ch5>(Zoho Music)\u003c/h5>\n\u003cp>Conde has been on the Bay Area scene for a while, but the Spanish-born pianist emerged as a major creative force with this album. Passionately reimagining a set of classic Thelonious Monk compositions through the lens of flamenco, the project uncovers previously unexpected rhythmic interplay in Monk’s music. He’s joined by an ideal cast of collaborators with percussion master John Santos, ace bassist Jeff Chambers, and the texturally resourceful drummer Jon Arkin. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155377\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KarinaDenike-400x400.jpg\" alt=\"Karina Deniké - 'Under Glass'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karina Deniké – ‘Under Glass’\u003c/figcaption>\u003c/figure>\n\u003ch3>Karina Deniké – \u003cem>Under Glass\u003c/em>\u003c/h3>\n\u003cp>After more than two decades as an indispensable creative catalyst for a vast array of bands, recordings and projects, Deniké stepped out on her own with this captivating album. While she references at least a half dozen styles, she uses a core group of players for a consistent play of textures, whether she’s delivering winsome girl-group harmonies with Lily Taylor or taking a funhouse ride on the midway. There’s a dizzying quality to Deniké’s music — an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or arrestingly original image. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/04/26/karina-denikes-long-road-to-under-glass\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155382\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Goldberg-400x400.jpg\" alt=\"Ben Goldberg - 'Orphic Machine'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ben Goldberg – ‘Orphic Machine’\u003c/figcaption>\u003c/figure>\n\u003ch3>Ben Goldberg – \u003cem>Orphic Machine\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>A clarinetist and composer who combines rigorous intelligence with searching imagination and a gift for melodic invention, Goldberg this year assembled an all-star nine-piece ensemble featuring extravagantly vivid improvisers like guitarist Nels Cline, cornetist Ron Miles and pianist Myra Melford. \u003cem>Orphic Machine\u003c/em> distills their wild energy in a set of elliptical art songs composed for the self-conscious and emotionally acute vocals of violinist Carla Kihlstdet, who brings a feverish intensity to the koan-like epigrams of Allen Grossman. The result is an extraordinary recording that lingers in the mind and the ear.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/monkwork-400x359.jpg\" alt=\"The Lost Trio - 'Monkwork'\" width=\"400\" height=\"359\" class=\"size-thumbnail wp-image-11155379\">\u003cfigcaption class=\"wp-caption-text\">The Lost Trio – ‘Monkwork’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lost Trio – \u003cem>Monkwork\u003c/em>\u003c/h3>\n\u003ch5>(Evander Music)\u003c/h5>\n\u003cp>A collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans and drummer Tom Hassett, the Lost Trio has never strayed far from the knotty, endlessly engaging compositions of Thelonious Monk. My favorite tracks on this all-Monk session feature three-song medleys that create a revelatory inter-Monk dialogue, as when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.” The absence of a piano, Monk’s primary instrument, gives the music a transparent quality, offering an X-Ray view into Monk’s rhythmic and harmonic architecture. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155380\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MyraMelford-400x360.jpg\" alt=\"Myra Melford - 'Snowy Egret'\" width=\"400\" height=\"360\" class=\"size-thumbnail wp-image-11155380\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford – ‘Snowy Egret’\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford – \u003cem>Snowy Egret\u003c/em>\u003c/h3>\n\u003ch5>(Enja)\u003c/h5>\n\u003cp>A pianist and composer with a gift for creating exploratory ensembles and wondrous musical galaxies, Melford is one of jazz’s most consistently enthralling artists. Her quintet Snowy Egret with cornetist Ron Miles, guitarist Liberty Ellman, bass guitarist Stomu Takeishi, and drummer extraordinaire Tyshawn Sorey brings coiled emotion, wit and boundless generosity to this set of roiling, elastically beatific compositions inspired by Eduardo Galeano’s \u003cem>Memory of Fire\u003c/em> trilogy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155378\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KimNalley-400x400.jpg\" alt=\"Kim Nalley - 'Blues People'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley – ‘Blues People’\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley – \u003cem>Blues People\u003c/em>\u003c/h3>\n\u003ch5>(Kim Nalley Jazz Productions)\u003c/h5>\n\u003cp>More than any of her previous albums, \u003cem>Blues People\u003c/em> reveals the full range of Nalley’s musical vision — and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones. From her incisive originals and defiant reinvention of the Gershwins’ “Summertime” to her celebration of bawdy humor on “The Chair Song (If I Can’t Sell It)” and her gospel-steeped version of “Movin’ On Up” (the theme to 1970s sitcom \u003cem>The Jeffersons\u003c/em>), Nalley builds a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture. Like the best parties, this album is a furious argument, a grinding slow dance, and a raging good time. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/09/13/kim-nalley-brings-the-blues-home-with-new-cd-blues-people\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155381\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RobReich-400x356.jpg\" alt=\"Rob Reich - 'Shadowbox'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155381\">\u003cfigcaption class=\"wp-caption-text\">Rob Reich – ‘Shadowbox’\u003c/figcaption>\u003c/figure>\n\u003ch3>Rob Reich – \u003cem>Shadowbox\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>Musicians playing Reich’s music seem to find themselves, or at least reveal aspects of their sound not always evident in other settings. Equally eloquent on the piano and accordion, Reich creates soundscapes brimming with half-buried feelings and memories just out of reach, and \u003cem>Shadowbox\u003c/em> contains his own particular alchemy of folk, jazz, and classical currents. With the subway rumble of Ben Goldberg’s contra alto clarinet, Todd Sickafoose’s elastic bass lines, Eric Garland’s subtle but assertive cymbal touch and guitarist Ila Cantor’s levitating guitar lines, the opening track “Night Heron” embodies much of what makes Reich’s music tantalizing and evocative. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155383\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaryStallings-400x400.jpg\" alt=\"Mary Stallings - 'Feelin' Good'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings – ‘Feelin’ Good’\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Stallings – \u003cem>Feelin’ Good\u003c/em>\u003c/h3>\n\u003ch5>(High Note)\u003c/h5>\n\u003cp>Stallings is the rightful queen of Bay Area jazz vocals, but she’s always been reluctant royalty — which is why she’s been “rediscovered” at least three times since she started recording in 1961. Working with a top-shelf cast of New York players led by veteran pianist/arranger Bruce Barth, she delivers a consistently smart set that pays tribute to four key bandleaders who championed her talent over the years: Cal Tjader, Dizzy Gillespie, Billy Eckstine and Count Basie. Her blues-tinged, dry-martini sound hasn’t lost any of its pleasing bite, and album highlights include two Neal Hefti gems (“Li’l Darling” and “Girl Talk”) and Mongo Santamaria’s “Afro Blue,” featuring her original lyrics.\n\u003c/p>\u003c/div>\n\u003cp>\u003cstrong>Alternate Takes\u003c/strong>\u003cbr>\n\u003cem>Other noteworthy local jazz releases from 2015\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Bad Plus and Joshua Redman\u003c/strong> – \u003cem>The Bad Plus Joshua Redman\u003c/em> (Nonesuch)\u003c/p>\n\u003cp>\u003cstrong>Bryan Bowman\u003c/strong> – \u003ci>Like Minds\u003c/i> (Bryan Bowman Music)\u003c/p>\n\u003cp>\u003cstrong>Electric Squeezebox Orchestra\u003c/strong> – \u003cem>Cheap Rent\u003c/em> (OA2 Records)\u003c/p>\n\u003cp>\u003cstrong>Zakir Hussain\u003c/strong> – \u003cem>Distant Kin\u003c/em> (Moment Records)\u003c/p>\n\u003cp>\u003cstrong>Karen Marguth\u003c/strong> – \u003cem>Just You, Just Me\u003c/em> (Way Fae Music)\u003c/p>\n\u003cp>\u003cstrong>Ochs-Robinson Duo\u003c/strong> – \u003cem>The Throne\u003c/em> (Not Two)\u003c/p>\n\u003cp>\u003cstrong>Fred Randoph\u003c/strong> – \u003cem>Song Without Singing\u003c/em> (Creative Spirit Records)\u003c/p>\n\u003cp>\u003cstrong>John Schott\u003c/strong> – \u003cem>Actual Trio\u003c/em> (Tzadik)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The VNote Ensemble\u003c/strong> – \u003cem>Urbano\u003c/em> (The VNote Ensemble)\u003cbr>\n\u003cstrong>\u003cbr>\nWayne Wallace Latin Jazz Quintet\u003c/strong> – \u003cem>Intercambio\u003c/em> (Patois Records)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking over the jazz albums I kept returning to in 2015 — a year in which Spotify, Pandora and other streaming services have further elevated standalone singles — I’m struck by the way each artist engages with the album format to make a larger musical statement. In almost every case, the releases capture a highly personal vision, woven through the entire project.\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>From Tiffany Austin’s funky and footloose old-wine-in-new-bottles take on Hoagy Carmichael to Ben Goldberg’s exquisite chamber-jazz-meets-art-song journey into the world of poet and philosopher Allen Grossman, these albums add up to more than the sum of their considerable parts. Another trend that stands out is that the Bay Area’s already-deep pool of vocal talent continues to grow apace.\u003c/p>\n\u003cp>Here are my 10 favorite jazz albums of 2015, in alphabetical order (with an additional slate of excellent local releases, any of which could have easily slid into the top 10).\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155374\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Antonioli-400x356.jpg\" alt=\"Laurie Antonioli & Richie Beirach - 'Varuna'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155374\">\u003cfigcaption class=\"wp-caption-text\">Laurie Antonioli & Richie Beirach – ‘Varuna’\u003c/figcaption>\u003c/figure>\n\u003ch3>Laurie Antonioli & Richie Beirach – \u003cem>Varuna\u003c/em>\u003c/h3>\n\u003ch5>(Origin Records)\u003c/h5>\n\u003cp>A veteran jazz singer who leads one of the best working bands on the scene, Antonioli has also converged intermittently over the years with Beirach, a probing post-bop pianist with a strong feel for European classical music. The album features one striking passage after another, centering on the transporting “Resolution Suite,” a free improv epiphany in three brief movements.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155375\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TiffanyAustin-400x355.jpg\" alt=\"Tiffany Austin - 'Nothing But Soul'\" width=\"400\" height=\"355\" class=\"size-thumbnail wp-image-11155375\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin – ‘Nothing But Soul’\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Austin – \u003cem>Nothing But Soul\u003c/em>\u003c/h3>\n\u003ch5>(Con Alma Music)\u003c/h5>\n\u003cp>Working with tenor saxophonist Howard Wiley, Austin this year delivered one of the most joyful and exuberant debut recordings in recent memory. Focusing on the songs of Hoagy Carmichael (with a few ringers) she puts her own stamp on tunes that have been around the block, including a sly version of “Baltimore Oriole” and her luscious reading of “Skylark.” (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155376\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AlexConde-400x416.jpg\" alt=\"Alex Conde - 'Descarga For Monk'\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-11155376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Conde – ‘Descarga For Monk’\u003c/figcaption>\u003c/figure>\n\u003ch3>Alex Conde – \u003cem>Descarga For Monk\u003c/em>\u003c/h3>\n\u003ch5>(Zoho Music)\u003c/h5>\n\u003cp>Conde has been on the Bay Area scene for a while, but the Spanish-born pianist emerged as a major creative force with this album. Passionately reimagining a set of classic Thelonious Monk compositions through the lens of flamenco, the project uncovers previously unexpected rhythmic interplay in Monk’s music. He’s joined by an ideal cast of collaborators with percussion master John Santos, ace bassist Jeff Chambers, and the texturally resourceful drummer Jon Arkin. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155377\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KarinaDenike-400x400.jpg\" alt=\"Karina Deniké - 'Under Glass'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karina Deniké – ‘Under Glass’\u003c/figcaption>\u003c/figure>\n\u003ch3>Karina Deniké – \u003cem>Under Glass\u003c/em>\u003c/h3>\n\u003cp>After more than two decades as an indispensable creative catalyst for a vast array of bands, recordings and projects, Deniké stepped out on her own with this captivating album. While she references at least a half dozen styles, she uses a core group of players for a consistent play of textures, whether she’s delivering winsome girl-group harmonies with Lily Taylor or taking a funhouse ride on the midway. There’s a dizzying quality to Deniké’s music — an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or arrestingly original image. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/04/26/karina-denikes-long-road-to-under-glass\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155382\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Goldberg-400x400.jpg\" alt=\"Ben Goldberg - 'Orphic Machine'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ben Goldberg – ‘Orphic Machine’\u003c/figcaption>\u003c/figure>\n\u003ch3>Ben Goldberg – \u003cem>Orphic Machine\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>A clarinetist and composer who combines rigorous intelligence with searching imagination and a gift for melodic invention, Goldberg this year assembled an all-star nine-piece ensemble featuring extravagantly vivid improvisers like guitarist Nels Cline, cornetist Ron Miles and pianist Myra Melford. \u003cem>Orphic Machine\u003c/em> distills their wild energy in a set of elliptical art songs composed for the self-conscious and emotionally acute vocals of violinist Carla Kihlstdet, who brings a feverish intensity to the koan-like epigrams of Allen Grossman. The result is an extraordinary recording that lingers in the mind and the ear.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/monkwork-400x359.jpg\" alt=\"The Lost Trio - 'Monkwork'\" width=\"400\" height=\"359\" class=\"size-thumbnail wp-image-11155379\">\u003cfigcaption class=\"wp-caption-text\">The Lost Trio – ‘Monkwork’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lost Trio – \u003cem>Monkwork\u003c/em>\u003c/h3>\n\u003ch5>(Evander Music)\u003c/h5>\n\u003cp>A collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans and drummer Tom Hassett, the Lost Trio has never strayed far from the knotty, endlessly engaging compositions of Thelonious Monk. My favorite tracks on this all-Monk session feature three-song medleys that create a revelatory inter-Monk dialogue, as when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.” The absence of a piano, Monk’s primary instrument, gives the music a transparent quality, offering an X-Ray view into Monk’s rhythmic and harmonic architecture. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155380\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MyraMelford-400x360.jpg\" alt=\"Myra Melford - 'Snowy Egret'\" width=\"400\" height=\"360\" class=\"size-thumbnail wp-image-11155380\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford – ‘Snowy Egret’\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford – \u003cem>Snowy Egret\u003c/em>\u003c/h3>\n\u003ch5>(Enja)\u003c/h5>\n\u003cp>A pianist and composer with a gift for creating exploratory ensembles and wondrous musical galaxies, Melford is one of jazz’s most consistently enthralling artists. Her quintet Snowy Egret with cornetist Ron Miles, guitarist Liberty Ellman, bass guitarist Stomu Takeishi, and drummer extraordinaire Tyshawn Sorey brings coiled emotion, wit and boundless generosity to this set of roiling, elastically beatific compositions inspired by Eduardo Galeano’s \u003cem>Memory of Fire\u003c/em> trilogy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155378\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KimNalley-400x400.jpg\" alt=\"Kim Nalley - 'Blues People'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley – ‘Blues People’\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley – \u003cem>Blues People\u003c/em>\u003c/h3>\n\u003ch5>(Kim Nalley Jazz Productions)\u003c/h5>\n\u003cp>More than any of her previous albums, \u003cem>Blues People\u003c/em> reveals the full range of Nalley’s musical vision — and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones. From her incisive originals and defiant reinvention of the Gershwins’ “Summertime” to her celebration of bawdy humor on “The Chair Song (If I Can’t Sell It)” and her gospel-steeped version of “Movin’ On Up” (the theme to 1970s sitcom \u003cem>The Jeffersons\u003c/em>), Nalley builds a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture. Like the best parties, this album is a furious argument, a grinding slow dance, and a raging good time. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/09/13/kim-nalley-brings-the-blues-home-with-new-cd-blues-people\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155381\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RobReich-400x356.jpg\" alt=\"Rob Reich - 'Shadowbox'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155381\">\u003cfigcaption class=\"wp-caption-text\">Rob Reich – ‘Shadowbox’\u003c/figcaption>\u003c/figure>\n\u003ch3>Rob Reich – \u003cem>Shadowbox\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>Musicians playing Reich’s music seem to find themselves, or at least reveal aspects of their sound not always evident in other settings. Equally eloquent on the piano and accordion, Reich creates soundscapes brimming with half-buried feelings and memories just out of reach, and \u003cem>Shadowbox\u003c/em> contains his own particular alchemy of folk, jazz, and classical currents. With the subway rumble of Ben Goldberg’s contra alto clarinet, Todd Sickafoose’s elastic bass lines, Eric Garland’s subtle but assertive cymbal touch and guitarist Ila Cantor’s levitating guitar lines, the opening track “Night Heron” embodies much of what makes Reich’s music tantalizing and evocative. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155383\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaryStallings-400x400.jpg\" alt=\"Mary Stallings - 'Feelin' Good'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings – ‘Feelin’ Good’\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Stallings – \u003cem>Feelin’ Good\u003c/em>\u003c/h3>\n\u003ch5>(High Note)\u003c/h5>\n\u003cp>Stallings is the rightful queen of Bay Area jazz vocals, but she’s always been reluctant royalty — which is why she’s been “rediscovered” at least three times since she started recording in 1961. Working with a top-shelf cast of New York players led by veteran pianist/arranger Bruce Barth, she delivers a consistently smart set that pays tribute to four key bandleaders who championed her talent over the years: Cal Tjader, Dizzy Gillespie, Billy Eckstine and Count Basie. Her blues-tinged, dry-martini sound hasn’t lost any of its pleasing bite, and album highlights include two Neal Hefti gems (“Li’l Darling” and “Girl Talk”) and Mongo Santamaria’s “Afro Blue,” featuring her original lyrics.\n\u003c/p>\u003c/div>\n\u003cp>\u003cstrong>Alternate Takes\u003c/strong>\u003cbr>\n\u003cem>Other noteworthy local jazz releases from 2015\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Bad Plus and Joshua Redman\u003c/strong> – \u003cem>The Bad Plus Joshua Redman\u003c/em> (Nonesuch)\u003c/p>\n\u003cp>\u003cstrong>Bryan Bowman\u003c/strong> – \u003ci>Like Minds\u003c/i> (Bryan Bowman Music)\u003c/p>\n\u003cp>\u003cstrong>Electric Squeezebox Orchestra\u003c/strong> – \u003cem>Cheap Rent\u003c/em> (OA2 Records)\u003c/p>\n\u003cp>\u003cstrong>Zakir Hussain\u003c/strong> – \u003cem>Distant Kin\u003c/em> (Moment Records)\u003c/p>\n\u003cp>\u003cstrong>Karen Marguth\u003c/strong> – \u003cem>Just You, Just Me\u003c/em> (Way Fae Music)\u003c/p>\n\u003cp>\u003cstrong>Ochs-Robinson Duo\u003c/strong> – \u003cem>The Throne\u003c/em> (Not Two)\u003c/p>\n\u003cp>\u003cstrong>Fred Randoph\u003c/strong> – \u003cem>Song Without Singing\u003c/em> (Creative Spirit Records)\u003c/p>\n\u003cp>\u003cstrong>John Schott\u003c/strong> – \u003cem>Actual Trio\u003c/em> (Tzadik)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The VNote Ensemble\u003c/strong> – \u003cem>Urbano\u003c/em> (The VNote Ensemble)\u003cbr>\n\u003cstrong>\u003cbr>\nWayne Wallace Latin Jazz Quintet\u003c/strong> – \u003cem>Intercambio\u003c/em> (Patois Records)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"title": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/237171024\" 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>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zHFro4tRy3g\u003c/p>\n\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c-fUxP_Bezc\u003c/p>\n\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\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/237171024&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/237171024'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\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/zHFro4tRy3g'\n title='//www.youtube.com/embed/zHFro4tRy3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\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/c-fUxP_Bezc'\n title='//www.youtube.com/embed/c-fUxP_Bezc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015",
"headTitle": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015 | KQED",
"content": "\u003cp>It’s odd to have a body. Limbs, joints, cartilage, veins, nerves, cells—the looming presence of such inescapable parts can make for confounding states of existential estrangement. Move on to other parts that signify conventions of gender and the notion can be enough to turn a mind inside-out.\u003c/p>\n\u003cp>Electronic music in 2015 seemed to strive toward such scrambled states. Certain strains of it, anyway: Far from the arena-rattling idols of EDM, a cast of progressive experimentalists turned to matters of gender as a subject ripe for survey in both danceable and non-danceable electronic milieus. In a genre that has long privileged elusiveness and anonymity—think of the archetypal faceless DJ with seven confusing aliases spinning in a darkened club—the question of identity came in for new and imaginatively expansive focus.\u003c/p>\n\u003cp>Signs of gender morphing and moving through unprecedented stages of understanding and acceptance have been evident all throughout the culture, from the pop-scale heights of Caitlyn Jenner, Laverne Cox and the TV series \u003cem>Transparent\u003c/em> to \u003ca href=\"http://www.nytimes.com/2015/12/03/insider/mx-did-the-times-adopt-a-new-transgender-courtesy-title.html\">articles in major newspapers contemplating the use of Mx.\u003c/a> as a gender-neutral honorific in place of Mr. or Ms. Even if the language lags, recognition of grey areas between too-tidy notions of binary black and white has been on the rise, to be sure.\u003c/p>\n\u003cp>The dynamic in electronic music draws in part from movements established in art, fashion, and other realms with which music in general has begun to blur. To make music that aspires toward progressivism now is also to direct videos, dabble in design, and negotiate options for the presentation of different personae across all kinds of media. In the present era, a musician of a certain age (read: young) is rarely just a musician in the end.\u003c/p>\n\u003cfigure id=\"attachment_11155957\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg\" alt=\"Arca.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arca. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of most note in terms of reach, Arca—the artist and producer who collaborated with Björk on her stirring album \u003cem>Vulnicura\u003c/em>—stretched and contorted matters of the flesh this year to intriguing extremes. Following his 2014 debut album \u003cem>Xen\u003c/em> (named after an alter-ego addressed with feminine pronouns but said to be neither female nor male), Arca hit bigger with \u003cem>Mutant\u003c/em>, a bracing album full of crashing, creaking rhythms and all manner of noise and aural corrosion fitted between. Certain songs came accompanied with videos in which bodies are contemplated from a vantage that could be the result of liberated lust or eerie leering—or, most likely, both. The effect in any case is spellbinding, with Arca himself presented as a sort of mutating abstract wraith \u003ca href=\"https://www.youtube.com/watch?v=Wtn7mNNqvqA\">writhing in yellow thigh-high boots\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?time_continue=261&v=0SYMoTBYT04\">shimmering strangely underwater in stockings\u003c/a> with a garter-belt in place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sexuality is central to the aesthetic but in a more than typically revealing and signal-scrambling way. Talking about his approach to sound and seemingly much else, Arca said, in an interview with Philip Sherburne at \u003cem>Pitchfork\u003c/em>, “You become more animalistic when you don’t know what’s coming next—you have to be on guard, but at the same time you’re also more receptive. Something I keep coming back to is the tension between two extremes: healing and chaos, hope and anxiety—these big themes are inside us, flickering, all day.”\u003c/p>\n\u003cp>On the subject of his sexuality, he continued: “For me, it’s not about living my life as a boy or a girl—but I’m also not trans—it’s just that one day you wake up feeling masculine, and one day you wake up feeling feminine. The flickering in between those two states is what’s most fertile for me.\u003c/p>\n\u003cp>The flickering projects internally as well as externally, he said: “It yields ways for me to relate to people that are different from myself and opportunities for me to turn shame into something healing. It’s very human to try to put things into boxes, and it’s hard for us to reconcile with grey areas, and yet somehow that’s the area I find the most poetic, the juiciest.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mYEyHb8x6AY\u003c/p>\n\u003cp>Many of Arca’s revelations, he has said, owe to experiences at GHE20G0TH1K, a storied dance party and proudly freaky fashion confab started in New York and traveled around the globe. In 2015, the party was paid tribute with a big event in its honor as part of the Red Bull Music Academy, with antic, epochally style-smashing DJ sets by Venus X, Mike Q, and Total Freedom. The sounds were very circa now—a manic and spastic collision of house music, hip-hop, freestyle, and frenetic breakbeat miscellany. The fashion, both directly and indirectly, was inspired by Hood By Air, a \u003ca href=\"https://www.hoodbyair.com/\">vaunted designer enterprise\u003c/a> that treats no one gender conception as superior to any other nor seems especially interested in gender distinctions of any kind anyway. The clothes are often flowing, dysmorphic, and abstractly draped, fit for bodies of all conceivable human (and even alien) kinds. The music flits between dark, gothic moodscapes à la Arca and giddy, fizzy, high-energy styles that soundtrack dance battles in the “ballroom” scene, where the roots of the ’80s/’90s drag circuit still grow wild and free.\u003c/p>\n\u003cp>Another breakout from that world this year is Juliana Huxtable, whose boundary-crossing forays from the DJ booth and the performance stage to the white walls of museums and galleries made her a force in the art world. At the New Museum Triennial in New York, a survey of young and emerging artists from all over, Huxtable was represented twice: with an installation of work of her own, including otherworldly self-portraits and poetry, and as the subject of a life-size 3-D sculpture by another artist, Frank Benson, of her naked body sprawled across a pedestal in a pose that invites gawking while freezing a gaze dead in its tracks. At an exhibition in which matters of identity took on crucial importance, the image of a transgender model splayed out for all to see proved emblematic: proud, defiant, steely, shy, shifty in its play with notions of surface and unseeable inner-workings.\u003c/p>\n\u003cp>In an interview in the exhibition catalog, Huxtable said, “I used to feel a bit powerless, and it was actually through playing with my body as an image file that could be manipulated, distorted, rendered, decorated, and placed in new contexts that I came to accept and feel at home in my body as it is currently, but also to imagine how it might move into the future.”\u003c/p>\n\u003cfigure id=\"attachment_11155958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg\" alt=\"Frank Benson, 'Juliana,' 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11155958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Benson, ‘Juliana,’ 2015. \u003ccite>(Benoit Pailley/Courtesy of the artist )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nightlife and party/pageant scene around electronic music was formative for Huxtable as well as numerous other artists in the show, including Ashland Mines, who DJs prolifically (and stylistically promiscuously) as Total Freedom. To Lauren Cornell, co-curator of the Triennial (alongside the mind-warping, gender-bending artist Ryan Trecartin), the “disorienting, experimental” nature of so much contemporary electronic music proved significant in more than just musical terms. “A lot of the young artists that we worked with carry over a feeling of the club as a transgressive space in their art,” she told me.\u003c/p>\n\u003cp>The legacy of the club as a space suited for regeneration and reinvention goes back to disco and follows through countless movements rooted in the politics of gender, sexuality, race, and identity markers of all kinds. ANOHNI, the newly minted moniker for the artist formerly known as Antony of Antony & the Johnsons, made a gesture decidedly in that direction with the release of \u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\" target=\"_blank\" rel=\"noopener\">“4 Degrees,”\u003c/a> a dramatic, fractious post-club track made with electronic-music-makers Hudson Mohawke and Oneohtrix Point Never. It was the first taste of a forthcoming album-length collaboration between the three, and the first full-scale public use of what ANOHNI called a “spirit name” more in line with her transgender identification.\u003c/p>\n\u003cp>The same spirit wandered out into certain strains of (more than usually) electronically inclined hip-hop as practiced by Mykki Blanco, whose 2015 label compilation \u003cem>C-ORE\u003c/em> features her \u003ca href=\"https://www.youtube.com/watch?v=_RCritSjK-I\" target=\"_blank\" rel=\"noopener\">sassily rapping\u003c/a> about her haters—”they don’t want to see a man in a dress”—before serving up a nice zigzag line of allegiance: “I’m a big boy, like Serena.” Le1f, an enigmatic rapper who rises up and down among collaborators like House of LaDosha on his striking album \u003cem>Riot Boi\u003c/em>, plays games in an intro track titled \u003ca href=\"https://www.youtube.com/watch?v=KPSjmbhAB1g\" target=\"_blank\" rel=\"noopener\">“Hi.”\u003c/a> “Check my whole aura winking at you,” he raps, while mulling both unity and individuality: “International youth gang, we liberal / But I’ma do me is all I can do.”\u003c/p>\n\u003cp>The darker and noisier realms of electronic music came laced with queer politics this year by way of Rabit and Lotic, both of whom offered up gritty, grotty-sounding releases on the au courant label Tri Angle. In an interview with \u003cem>The Quietus\u003c/em>, Rabit, the creator of the album \u003cem>Communion\u003c/em>, said, “I found the idea of masculine and feminine energy…interesting and so my production is often a way of feeling around that. Nothing was ever made with the thought process of ‘I’m gonna sit down now and make a song about being queer’ or in some hyper-masculine mold. Gender perceptions are very divisive and can stifle progression.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uoJOQyIHEYE\u003c/p>\n\u003cp>He sees now reason for sounds themselves to be gendered, either: “It’s definitely a stereotype that if you do some kind of angelic melody it’s seen as feminine and if you do something that’s abrasive and industrial, it’s described as super masculine. I like to play with that, though, and I think somebody like Lotic is a good example of messing with that too, because he can make very abrasive sounds and place them alongside completely opposite sounds that people traditionally term as feminine.” On the title track of his own EP \u003cem>Heterocetera\u003c/em>, the likeminded Lotic made a powerful move by working with “The Ha Dance” by Masters at Work, a vintage anthem from the voguing ballroom scene, and \u003ca href=\"https://www.youtube.com/watch?v=Z0aKhBqjCi0\" target=\"_blank\" rel=\"noopener\">twisting it into something warped\u003c/a> of his own peculiar making.\u003c/p>\n\u003cp>Among the most peculiar of all electronic releases this year was \u003cem>American Drift\u003c/em> by Elysia Crampton, an artist with roots in Bolivia, Mexico, California, and rural Virginia. All figure into the dense and cryptic mythology at play in an album that mixes drifting synths with lashing laser sounds, rumbling drums, \u003ca href=\"https://www.youtube.com/watch?v=NDudnJFgras\" target=\"_blank\" rel=\"noopener\">snarling crunk samples\u003c/a>, and spoken word that binds the personal with the geographical. The impressionistic swirl of it all is singular, to be sure, but Crampton shares allegiances with much else in her milieu. She works closely with Juliana Huxtable—she made the music for a recent performance of Huxtable’s at the estimable Museum of Modern Art—and she professes adulation of Total Freedom/Ashland Mines, who she sees as an envoy for so much going on in club culture now.\u003c/p>\n\u003cfigure id=\"attachment_11155959\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe\" alt=\"Elysia Crampton\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-400x400.jpe 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-768x768.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-1180x1180.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-960x960.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-75x75.jpe 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7.jpe 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Elysia Crampton. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Crampton, matters related to her transgender identity are mystical as much as material. “I can’t confront and explore my own trans-ness without touching on a bigger trans-ness: trans-humanity, trans-thing, trans-subject, trans-etc.,” she told me. “It’s a kind of education. Terms float as taglines and become embedded. But it’s neat how algorithms push you together with other artists too.”\u003c/p>\n\u003cp>Music, for her, allows and even creates space in which different states of being and becoming can be as accepted as any other. “In this language, a person can’t come to be because the language is so binary,” Crampton said. “Or maybe they can but it makes it that much harder. In music, you make a dimensional space where certain identities and certain ideas can be born and perhaps thrive. Music has always been that for me. When it plays, you can feel your chemistry changing. If it’s something you really like, it’s like gene methylation—you can feel a genetic change.”\u003c/p>\n\u003cp>The motion and progress implied in music of whatever kind—electronic music especially—makes a good analog for transition as she conceives of it too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Trans is becoming. Trans is the difference between the universe being frozen and the universe moving forward,” she said. “Do we still have the ability to imagine alternate futures for ourselves? Or have we all just become apocalyptic?” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s odd to have a body. Limbs, joints, cartilage, veins, nerves, cells—the looming presence of such inescapable parts can make for confounding states of existential estrangement. Move on to other parts that signify conventions of gender and the notion can be enough to turn a mind inside-out.\u003c/p>\n\u003cp>Electronic music in 2015 seemed to strive toward such scrambled states. Certain strains of it, anyway: Far from the arena-rattling idols of EDM, a cast of progressive experimentalists turned to matters of gender as a subject ripe for survey in both danceable and non-danceable electronic milieus. In a genre that has long privileged elusiveness and anonymity—think of the archetypal faceless DJ with seven confusing aliases spinning in a darkened club—the question of identity came in for new and imaginatively expansive focus.\u003c/p>\n\u003cp>Signs of gender morphing and moving through unprecedented stages of understanding and acceptance have been evident all throughout the culture, from the pop-scale heights of Caitlyn Jenner, Laverne Cox and the TV series \u003cem>Transparent\u003c/em> to \u003ca href=\"http://www.nytimes.com/2015/12/03/insider/mx-did-the-times-adopt-a-new-transgender-courtesy-title.html\">articles in major newspapers contemplating the use of Mx.\u003c/a> as a gender-neutral honorific in place of Mr. or Ms. Even if the language lags, recognition of grey areas between too-tidy notions of binary black and white has been on the rise, to be sure.\u003c/p>\n\u003cp>The dynamic in electronic music draws in part from movements established in art, fashion, and other realms with which music in general has begun to blur. To make music that aspires toward progressivism now is also to direct videos, dabble in design, and negotiate options for the presentation of different personae across all kinds of media. In the present era, a musician of a certain age (read: young) is rarely just a musician in the end.\u003c/p>\n\u003cfigure id=\"attachment_11155957\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg\" alt=\"Arca.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arca. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of most note in terms of reach, Arca—the artist and producer who collaborated with Björk on her stirring album \u003cem>Vulnicura\u003c/em>—stretched and contorted matters of the flesh this year to intriguing extremes. Following his 2014 debut album \u003cem>Xen\u003c/em> (named after an alter-ego addressed with feminine pronouns but said to be neither female nor male), Arca hit bigger with \u003cem>Mutant\u003c/em>, a bracing album full of crashing, creaking rhythms and all manner of noise and aural corrosion fitted between. Certain songs came accompanied with videos in which bodies are contemplated from a vantage that could be the result of liberated lust or eerie leering—or, most likely, both. The effect in any case is spellbinding, with Arca himself presented as a sort of mutating abstract wraith \u003ca href=\"https://www.youtube.com/watch?v=Wtn7mNNqvqA\">writhing in yellow thigh-high boots\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?time_continue=261&v=0SYMoTBYT04\">shimmering strangely underwater in stockings\u003c/a> with a garter-belt in place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sexuality is central to the aesthetic but in a more than typically revealing and signal-scrambling way. Talking about his approach to sound and seemingly much else, Arca said, in an interview with Philip Sherburne at \u003cem>Pitchfork\u003c/em>, “You become more animalistic when you don’t know what’s coming next—you have to be on guard, but at the same time you’re also more receptive. Something I keep coming back to is the tension between two extremes: healing and chaos, hope and anxiety—these big themes are inside us, flickering, all day.”\u003c/p>\n\u003cp>On the subject of his sexuality, he continued: “For me, it’s not about living my life as a boy or a girl—but I’m also not trans—it’s just that one day you wake up feeling masculine, and one day you wake up feeling feminine. The flickering in between those two states is what’s most fertile for me.\u003c/p>\n\u003cp>The flickering projects internally as well as externally, he said: “It yields ways for me to relate to people that are different from myself and opportunities for me to turn shame into something healing. It’s very human to try to put things into boxes, and it’s hard for us to reconcile with grey areas, and yet somehow that’s the area I find the most poetic, the juiciest.”\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/mYEyHb8x6AY'\n title='//www.youtube.com/embed/mYEyHb8x6AY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of Arca’s revelations, he has said, owe to experiences at GHE20G0TH1K, a storied dance party and proudly freaky fashion confab started in New York and traveled around the globe. In 2015, the party was paid tribute with a big event in its honor as part of the Red Bull Music Academy, with antic, epochally style-smashing DJ sets by Venus X, Mike Q, and Total Freedom. The sounds were very circa now—a manic and spastic collision of house music, hip-hop, freestyle, and frenetic breakbeat miscellany. The fashion, both directly and indirectly, was inspired by Hood By Air, a \u003ca href=\"https://www.hoodbyair.com/\">vaunted designer enterprise\u003c/a> that treats no one gender conception as superior to any other nor seems especially interested in gender distinctions of any kind anyway. The clothes are often flowing, dysmorphic, and abstractly draped, fit for bodies of all conceivable human (and even alien) kinds. The music flits between dark, gothic moodscapes à la Arca and giddy, fizzy, high-energy styles that soundtrack dance battles in the “ballroom” scene, where the roots of the ’80s/’90s drag circuit still grow wild and free.\u003c/p>\n\u003cp>Another breakout from that world this year is Juliana Huxtable, whose boundary-crossing forays from the DJ booth and the performance stage to the white walls of museums and galleries made her a force in the art world. At the New Museum Triennial in New York, a survey of young and emerging artists from all over, Huxtable was represented twice: with an installation of work of her own, including otherworldly self-portraits and poetry, and as the subject of a life-size 3-D sculpture by another artist, Frank Benson, of her naked body sprawled across a pedestal in a pose that invites gawking while freezing a gaze dead in its tracks. At an exhibition in which matters of identity took on crucial importance, the image of a transgender model splayed out for all to see proved emblematic: proud, defiant, steely, shy, shifty in its play with notions of surface and unseeable inner-workings.\u003c/p>\n\u003cp>In an interview in the exhibition catalog, Huxtable said, “I used to feel a bit powerless, and it was actually through playing with my body as an image file that could be manipulated, distorted, rendered, decorated, and placed in new contexts that I came to accept and feel at home in my body as it is currently, but also to imagine how it might move into the future.”\u003c/p>\n\u003cfigure id=\"attachment_11155958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg\" alt=\"Frank Benson, 'Juliana,' 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11155958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Benson, ‘Juliana,’ 2015. \u003ccite>(Benoit Pailley/Courtesy of the artist )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nightlife and party/pageant scene around electronic music was formative for Huxtable as well as numerous other artists in the show, including Ashland Mines, who DJs prolifically (and stylistically promiscuously) as Total Freedom. To Lauren Cornell, co-curator of the Triennial (alongside the mind-warping, gender-bending artist Ryan Trecartin), the “disorienting, experimental” nature of so much contemporary electronic music proved significant in more than just musical terms. “A lot of the young artists that we worked with carry over a feeling of the club as a transgressive space in their art,” she told me.\u003c/p>\n\u003cp>The legacy of the club as a space suited for regeneration and reinvention goes back to disco and follows through countless movements rooted in the politics of gender, sexuality, race, and identity markers of all kinds. ANOHNI, the newly minted moniker for the artist formerly known as Antony of Antony & the Johnsons, made a gesture decidedly in that direction with the release of \u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\" target=\"_blank\" rel=\"noopener\">“4 Degrees,”\u003c/a> a dramatic, fractious post-club track made with electronic-music-makers Hudson Mohawke and Oneohtrix Point Never. It was the first taste of a forthcoming album-length collaboration between the three, and the first full-scale public use of what ANOHNI called a “spirit name” more in line with her transgender identification.\u003c/p>\n\u003cp>The same spirit wandered out into certain strains of (more than usually) electronically inclined hip-hop as practiced by Mykki Blanco, whose 2015 label compilation \u003cem>C-ORE\u003c/em> features her \u003ca href=\"https://www.youtube.com/watch?v=_RCritSjK-I\" target=\"_blank\" rel=\"noopener\">sassily rapping\u003c/a> about her haters—”they don’t want to see a man in a dress”—before serving up a nice zigzag line of allegiance: “I’m a big boy, like Serena.” Le1f, an enigmatic rapper who rises up and down among collaborators like House of LaDosha on his striking album \u003cem>Riot Boi\u003c/em>, plays games in an intro track titled \u003ca href=\"https://www.youtube.com/watch?v=KPSjmbhAB1g\" target=\"_blank\" rel=\"noopener\">“Hi.”\u003c/a> “Check my whole aura winking at you,” he raps, while mulling both unity and individuality: “International youth gang, we liberal / But I’ma do me is all I can do.”\u003c/p>\n\u003cp>The darker and noisier realms of electronic music came laced with queer politics this year by way of Rabit and Lotic, both of whom offered up gritty, grotty-sounding releases on the au courant label Tri Angle. In an interview with \u003cem>The Quietus\u003c/em>, Rabit, the creator of the album \u003cem>Communion\u003c/em>, said, “I found the idea of masculine and feminine energy…interesting and so my production is often a way of feeling around that. Nothing was ever made with the thought process of ‘I’m gonna sit down now and make a song about being queer’ or in some hyper-masculine mold. Gender perceptions are very divisive and can stifle progression.\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/uoJOQyIHEYE'\n title='//www.youtube.com/embed/uoJOQyIHEYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He sees now reason for sounds themselves to be gendered, either: “It’s definitely a stereotype that if you do some kind of angelic melody it’s seen as feminine and if you do something that’s abrasive and industrial, it’s described as super masculine. I like to play with that, though, and I think somebody like Lotic is a good example of messing with that too, because he can make very abrasive sounds and place them alongside completely opposite sounds that people traditionally term as feminine.” On the title track of his own EP \u003cem>Heterocetera\u003c/em>, the likeminded Lotic made a powerful move by working with “The Ha Dance” by Masters at Work, a vintage anthem from the voguing ballroom scene, and \u003ca href=\"https://www.youtube.com/watch?v=Z0aKhBqjCi0\" target=\"_blank\" rel=\"noopener\">twisting it into something warped\u003c/a> of his own peculiar making.\u003c/p>\n\u003cp>Among the most peculiar of all electronic releases this year was \u003cem>American Drift\u003c/em> by Elysia Crampton, an artist with roots in Bolivia, Mexico, California, and rural Virginia. All figure into the dense and cryptic mythology at play in an album that mixes drifting synths with lashing laser sounds, rumbling drums, \u003ca href=\"https://www.youtube.com/watch?v=NDudnJFgras\" target=\"_blank\" rel=\"noopener\">snarling crunk samples\u003c/a>, and spoken word that binds the personal with the geographical. The impressionistic swirl of it all is singular, to be sure, but Crampton shares allegiances with much else in her milieu. She works closely with Juliana Huxtable—she made the music for a recent performance of Huxtable’s at the estimable Museum of Modern Art—and she professes adulation of Total Freedom/Ashland Mines, who she sees as an envoy for so much going on in club culture now.\u003c/p>\n\u003cfigure id=\"attachment_11155959\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe\" alt=\"Elysia Crampton\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-400x400.jpe 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-768x768.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-1180x1180.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-960x960.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-75x75.jpe 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7.jpe 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Elysia Crampton. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Crampton, matters related to her transgender identity are mystical as much as material. “I can’t confront and explore my own trans-ness without touching on a bigger trans-ness: trans-humanity, trans-thing, trans-subject, trans-etc.,” she told me. “It’s a kind of education. Terms float as taglines and become embedded. But it’s neat how algorithms push you together with other artists too.”\u003c/p>\n\u003cp>Music, for her, allows and even creates space in which different states of being and becoming can be as accepted as any other. “In this language, a person can’t come to be because the language is so binary,” Crampton said. “Or maybe they can but it makes it that much harder. In music, you make a dimensional space where certain identities and certain ideas can be born and perhaps thrive. Music has always been that for me. When it plays, you can feel your chemistry changing. If it’s something you really like, it’s like gene methylation—you can feel a genetic change.”\u003c/p>\n\u003cp>The motion and progress implied in music of whatever kind—electronic music especially—makes a good analog for transition as she conceives of it too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Trans is becoming. Trans is the difference between the universe being frozen and the universe moving forward,” she said. “Do we still have the ability to imagine alternate futures for ourselves? Or have we all just become apocalyptic?” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For Mexican-born singer-songwriter \u003ca href=\"http://dianagameros.com\" target=\"_blank\" rel=\"noopener\">Diana Gameros\u003c/a>, music has always been a deeply personal endeavor, acting as both a lifeline and a retreat from the world’s complications. Her soulful, emotionally-charged music, recorded on her debut album \u003cem>\u003ca href=\"https://dianagameros.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Eterno Retorno\u003c/a>\u003c/em>, tells a journey of love, loss, and hope, rooted in her own coming-of-age story as an undocumented immigrant in America. “Music for me has always been an outlet,” Gameros tells KQED Arts, “a way to be on my own and be okay.”\u003c/p>\n\u003cp>Born in Ciudad Juárez, Gameros spent most of her childhood in the border city, where over the last decade, the forces of globalization, cartel violence and government corruption have turned it into one most dangerous places on the planet. The realities of her birth city – where Gameros’ family still lives – inspire many of her songs, including her powerful, gut-wrenching “En Juarez,” captured by KQED Arts’ cameras at a recent performance at \u003ca href=\"http://maclaarte.org\" target=\"_blank\" rel=\"noopener\">MACLA \u003c/a>in San Jose.\u003c/p>\n\u003cp>But Gameros’ American story has an innocence, involving a Michigan boy she fell in love with and wide-eyed dreams of becoming a professional musician. “That gave me all the drive to do whatever I had to do to be here,” says Gameros, who moved to Michigan and studied music for four years at Grand Rapids Community College.\u003c/p>\n\u003cp>When Gameros came to the Bay Area in 2008, she gave herself one month to land a steady gig, and found a weekend stage at Roosevelt Tamale Parlor on 24th Street in San Francisco’s Mission district. (The restaurant closed this week after being a fixture in the neighborhood for nearly a century.) For years, to help pay the rent, Gameros sang Mexican ballads and other Latin classics for diners, all the while finding and developing her own voice wherever she could, whether at the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, the annual \u003ca href=\"http://www.mappsf.com\" target=\"_blank\" rel=\"noopener\">Mission Arts Performance Project\u003c/a> festival, or on street corners.\u003c/p>\n\u003cp>Today, the Berkeley-based Gameros has become a go-to opening act for Latin superstars with tour dates in the Bay Area, including Brazilian bossa nova singer Bebel Gilberto, Mexican pop singer Ximena Sariñana and Los Angeles-based La Santa Cecilia band. And Gameros’ exposure is only growing, having collaborated with an eclectic list of Bay Area musical institutions, including the Awesöme Orchestra Collective, the Oakland East Bay Symphony, Magik*Magik Orchestra, and the Chamber Music Society of San Francisco. She’s currently working on her second album, produced by Mexican pop star and three-time Latin Grammy Award-winner Natalia Lafourcade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gameros, now 33, credits her growing success to an “I’ve-got-nothing-to-lose” attitude, nonstop performing (she’s rarely said no to a gig), and a deep gratitude for the opportunities she’s found in the U.S., despite a challenging 13-year-struggle for legal immigration status. For years, Gameros has been unable to travel freely and visit family in Mexico, lest she risk never being able to return to the U.S. Last year, she at last received an immigration visa, putting her on the path to American citizenship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the hardships, Gameros says she wouldn’t have had it any other way. “It has allowed me to be more honest with my music, and to connect to others more deeply,” she says. “As people connect to my music, I feel a responsibility to keep writing songs that mean something.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Mexican-born singer-songwriter \u003ca href=\"http://dianagameros.com\" target=\"_blank\" rel=\"noopener\">Diana Gameros\u003c/a>, music has always been a deeply personal endeavor, acting as both a lifeline and a retreat from the world’s complications. Her soulful, emotionally-charged music, recorded on her debut album \u003cem>\u003ca href=\"https://dianagameros.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Eterno Retorno\u003c/a>\u003c/em>, tells a journey of love, loss, and hope, rooted in her own coming-of-age story as an undocumented immigrant in America. “Music for me has always been an outlet,” Gameros tells KQED Arts, “a way to be on my own and be okay.”\u003c/p>\n\u003cp>Born in Ciudad Juárez, Gameros spent most of her childhood in the border city, where over the last decade, the forces of globalization, cartel violence and government corruption have turned it into one most dangerous places on the planet. The realities of her birth city – where Gameros’ family still lives – inspire many of her songs, including her powerful, gut-wrenching “En Juarez,” captured by KQED Arts’ cameras at a recent performance at \u003ca href=\"http://maclaarte.org\" target=\"_blank\" rel=\"noopener\">MACLA \u003c/a>in San Jose.\u003c/p>\n\u003cp>But Gameros’ American story has an innocence, involving a Michigan boy she fell in love with and wide-eyed dreams of becoming a professional musician. “That gave me all the drive to do whatever I had to do to be here,” says Gameros, who moved to Michigan and studied music for four years at Grand Rapids Community College.\u003c/p>\n\u003cp>When Gameros came to the Bay Area in 2008, she gave herself one month to land a steady gig, and found a weekend stage at Roosevelt Tamale Parlor on 24th Street in San Francisco’s Mission district. (The restaurant closed this week after being a fixture in the neighborhood for nearly a century.) For years, to help pay the rent, Gameros sang Mexican ballads and other Latin classics for diners, all the while finding and developing her own voice wherever she could, whether at the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, the annual \u003ca href=\"http://www.mappsf.com\" target=\"_blank\" rel=\"noopener\">Mission Arts Performance Project\u003c/a> festival, or on street corners.\u003c/p>\n\u003cp>Today, the Berkeley-based Gameros has become a go-to opening act for Latin superstars with tour dates in the Bay Area, including Brazilian bossa nova singer Bebel Gilberto, Mexican pop singer Ximena Sariñana and Los Angeles-based La Santa Cecilia band. And Gameros’ exposure is only growing, having collaborated with an eclectic list of Bay Area musical institutions, including the Awesöme Orchestra Collective, the Oakland East Bay Symphony, Magik*Magik Orchestra, and the Chamber Music Society of San Francisco. She’s currently working on her second album, produced by Mexican pop star and three-time Latin Grammy Award-winner Natalia Lafourcade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gameros, now 33, credits her growing success to an “I’ve-got-nothing-to-lose” attitude, nonstop performing (she’s rarely said no to a gig), and a deep gratitude for the opportunities she’s found in the U.S., despite a challenging 13-year-struggle for legal immigration status. For years, Gameros has been unable to travel freely and visit family in Mexico, lest she risk never being able to return to the U.S. Last year, she at last received an immigration visa, putting her on the path to American citizenship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the hardships, Gameros says she wouldn’t have had it any other way. “It has allowed me to be more honest with my music, and to connect to others more deeply,” she says. “As people connect to my music, I feel a responsibility to keep writing songs that mean something.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose",
"title": "Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose",
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"content": "\u003cp>Though everyone starts out with thoughtful gift ideas for our friends and loved ones, a lot of the times our plans don’t work out and we end up picking up last-minute finds, like gift cards from the rack near the cashier at the grocery store. This guide is for those who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. The added benefit is that you’ll also get to know some of San Jose’s best independent retailers — those welcoming spaces that we incorporate into a network that fosters individuality and help us South Bay residents love living here a little more than we already do.\u003c/p>\n\u003cp>\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/p>\n\u003cp>The shops highlighted below have been chosen for their unique offerings, affordability and value for the products or services they sell, as well as their proximity to other cool destinations — most are within walking distance of each other — because what money spent in San Jose stays here (mostly) and supports our hyper-local creative community. (Studies have consistently shown that independent retailers return more than three times as much money per dollar of sales than big box/chain stores; \u003ca href=\"http://www.amiba.net/resources/multiplier-effect/\" target=\"_blank\" rel=\"noopener\">current results\u003c/a> show $45 vs. $14 per $100 spent.)\u003c/p>\n\u003cfigure id=\"attachment_11150717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg\" alt=\"KALEID Gallery in downtown San Jose\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11150717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KALEID Gallery in downtown San Jose \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Downtown San Jose\u003c/h3>\n\u003cp>It may not be the bustling retail center you’d expect to find in most major cities, but that can be an advantage when it comes to the challenges of holiday shopping. Parking isn’t so bad, the shops are calm and the staff (often the owners themselves) are attentive and helpful. After your shopping is done, you can visit \u003ca href=\"http://christmasinthepark.com/\" target=\"_blank\" rel=\"noopener\">Christmas in the Park\u003c/a> for some replenishing of holiday cheer.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kaleidgallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>KALEID Gallery\u003c/strong>\u003c/a>\u003cbr>\n88 So. 4th St.\u003cbr>\nKALEID Gallery is a good place to start for one of a kind gifts created by incredibly talented artists. In addition to 90 resident artists peppered throughout the large space, the gallery is currently hosting its annual “HARK!” holiday show & sale, which consists of hundreds of affordable art works. Paintings dominate the walls from every genre imaginable but there’s also eye-catching jewelry, ceramics and glass, as well as small, functional items like ornaments and buttons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"http://circlea.com/\" target=\"_blank\" rel=\"noopener\">Circle A Skate\u003c/a> has everything needed for a new skateboard as well as clothing & shoes to go with it. \u003ca href=\"http://www.techshop.ws/ts_sanjose.html\" target=\"_blank\" rel=\"noopener\">TechShop SJ\u003c/a> offers memberships and gift cards for the chronic do-it-yourselfer. And classes at \u003ca href=\"https://touchstoneclimbing.com/the-studio/\" target=\"_blank\" rel=\"noopener\">The Studio Rock Climbing Gym \u003c/a> or \u003ca href=\"http://downtownyogashala.com/\" target=\"_blank\" rel=\"noopener\">Downtown Yoga Shala\u003c/a> will be meaningful to those that are health and fitness conscious. Finally, if you plan to visit on a weekend, stop by \u003ca href=\"http://www.sanpedrosquaremarket.com/\" target=\"_blank\" rel=\"noopener\">San Pedro Square Market\u003c/a> for the \u003ca href=\"http://www.sanjosemade.com/\" target=\"_blank\" rel=\"noopener\">SJMade\u003c/a> holiday pop-up event featuring a dozen local vendors tabling their wares.\u003c/p>\n\u003cfigure id=\"attachment_11150588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg\" alt=\"Art Boutiki on the Alameda\" width=\"800\" height=\"520\" class=\"size-medium wp-image-11150588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352.jpg 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Boutiki on the Alameda \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Alameda\u003c/h3>\n\u003cp>Not that long ago The Alameda was a quiet stretch of retailers and restaurants mainly serving the neighborhoods to its north and south. With the arrival of Whole Foods Market last year, it’s become a busy destination driving more attention and foot traffic to the area which is a great boost to some very deserving spots in the area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artboutiki.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Art Boutiki & Gallery\u003c/strong>\u003c/a>\u003cbr>\n44 Race St.\u003cbr>\nArt Boutiki is an unusual hybrid space with a comic book store in the front and live music venue in the back. Although it’s not a huge inventory of comics, it is a rigorously curated selection and easy to wade through (must haves like \u003cem>Johnny the Homicidal Maniac\u003c/em> by Jhonen Vasquez & \u003cem>Sandman\u003c/em> by Neil Gaiman are featured prominently.) The big gift idea here though is their digital direct-to-garment printing: imagine your face or latest drawing on t-shirts specially made just for your family or your closest friends. And these t-shirts, though affordable, aren’t chintzy — the full-color print will last the life of the tee.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"//www.thearsenalsj.com/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a> Art Store carries all the essential drawing, painting and spray painting materials needed for the budding or serious artist. \u003ca href=\"http://www.recyclebookstore.com\" target=\"_blank\" rel=\"noopener\">Recycle Books\u003c/a> is here with their headquarters location and has all their rare and hard to find inventory at this location. \u003ca href=\"http://shopblackandbrown.com\" target=\"_blank\" rel=\"noopener\">Black & Brown Clothing\u003c/a> should be your last quick stop before leaving the area. A used clothing store, Black & Brown carries both vintage and contemporary wear for all genders, all in gently-worn condition, while also providing a great selection of shoes, belts and handbags.\u003c/p>\n\u003cfigure id=\"attachment_11150589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg\" alt=\"Zonkey Toys in Japantown\" width=\"800\" height=\"519\" class=\"size-medium wp-image-11150589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zonkey Toys in Japantown \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Japantown\u003c/h3>\n\u003cp>Japantown is the destination for authentic Japanese culture past and present. Shops providing kimonos, bonsai and ukuleles exist in perfect harmony with edgy art galleries, tattoo parlors and streetwear clothing stores.\u003c/p>\n\u003cp>\u003ca href=\"http://zonkeytoys.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Zonkey Toys\u003c/strong>\u003c/a>\u003cbr>\n621 N. 6th St.\u003cbr>\nZonkey is a small storefront jam packed with limited edition collectibles. They pride themselves on their inventory and knowledge of “sofubi” toys (short for the Japanese “sofuto bineeru” meaning soft vinyl). These are labor intensive works of art and this shop aims to make sure its customers will be ahead of the next wave of the vinyl toy movement, which has gone underground (again).\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nJust around the corner from Zonkey is \u003ca href=\"http://koguraco.com/\" target=\"_blank\" rel=\"noopener\">Kogura Company\u003c/a> purveyors of specialty gift and household items directly from Japan, including tea pots, ceramic dishes, mugs and rice cookers. Next door is \u003ca href=\"http://cukui.com/\" target=\"_blank\" rel=\"noopener\">Cukui\u003c/a>, a gallery/clothing store sporting custom graphics inspired by a mashup of Chicano and South Pacific Islander cultures, as well as graffiti influences. And a few paces down is \u003ca href=\"http://www.petitegalleria.com\" target=\"_blank\" rel=\"noopener\">Petite Galleria\u003c/a> with hundreds of beautiful artisanal products, from clever earrings to elaborate, limited-edition art pieces.\u003c/p>\n\u003cfigure id=\"attachment_11150590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg\" alt=\"Whatnots and Dodads in Willow Glen\" width=\"800\" height=\"579\" class=\"size-medium wp-image-11150590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whatnots and Dodads in Willow Glen \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Glen\u003c/h3>\n\u003cp>Sundays are a great day to grab a cappuccino at the Italian coffee shop \u003ca href=\"http://dolcettocafeandmarket.com\" target=\"_blank\" rel=\"noopener\">Dolcetto Café\u003c/a> and whittle down your Christmas list on Lincoln Ave. popping in and out of a great deal of vintage, clothing and creative novelty shops.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhatnotsandDodads/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Whatnots & Dodads \u003c/strong>\u003c/a>\u003cbr>\n1330 Lincoln Ave.\u003cbr>\nWhatnots & Dodads will instantly put you in the Christmas spirit with their elaborate holiday trees decked out in antique ornaments and lights. They have 23 vendor niches focusing on well-vetted items including, but not limited to: figurines, classic cameras, western memorabilia, beautiful scarves and jewelry.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nOther vintage stores include the quirky \u003ca href=\"http://www.parkplacevintage.com/\" target=\"_blank\" rel=\"noopener\">Park Place Vintage\u003c/a> and the quaint \u003ca href=\"http://www.threesisterswillowglen.com/\" target=\"_blank\" rel=\"noopener\">Three Sisters\u003c/a>, which also carries excellent local honey. And you’ll find great bargains at the \u003ca href=\"http://www.thriftbox.org/\" target=\"_blank\" rel=\"noopener\">Thrift Box\u003c/a> which benefits the Lucille Packard Children’s Hospital. Stop into \u003ca href=\"https://www.facebook.com/UNDERGROUNDwg/\" target=\"_blank\" rel=\"noopener\">Underground Clothing\u003c/a> for chic clothing for men & women. It’s also worth mentioning that \u003ca href=\"http://www.goodkarmabikes.org/\" target=\"_blank\" rel=\"noopener\">Good Karma Bikes\u003c/a> has moved into the area — just a few blocks north on Lincoln Ave. They sell hundreds of “rehabilitated” bicycles, and all proceeds from sales go towards programs for foster kids and disadvantaged youth. They also grant bikes to low income residents.\u003c/p>\n\u003cfigure id=\"attachment_11150591\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg\" alt=\"On the Corner Music in Campbell\" width=\"480\" height=\"720\" class=\"size-full wp-image-11150591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">On the Corner Music in Campbell \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Campbell\u003c/h3>\n\u003cp>For a bit of “Hometown, USA” nostalgia, main street Campbell is just the place to stroll if you don’t know exactly what you’re looking for but hope you’ll find that perfect something.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/On-The-Corner-Music/117238371673344\" target=\"_blank\" rel=\"noopener\">\u003cstrong>On the Corner Music \u003c/strong>\u003c/a>\u003cbr>\n530 E. Campbell Ave.\u003cbr>\nAt On the Corner Music, they know that great music stands the test of time, and that there’s nothing better than listening to it on vinyl. They have thousands of albums packed into well-organized bins, ranging from classic rock, alternative, and jazz, and their prices start at a mere $1. There are also two turntables so you can listen to your selections before purchasing them, to make sure your gift is as awesome as you remembered it in high school.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nMake your way north down the main strip and stop into \u003ca href=\"http://www.moonfyre.net/%20store\" target=\"_blank\" rel=\"noopener\">Moon Fyre Metaphysical\u003c/a> store for divine smelling oils to wear and incense to burn. \u003ca href=\"http://www.kaleidolamps.com/\" target=\"_blank\" rel=\"noopener\">Kaleido Lamps \u003c/a>is the place for far out lamps and fun night lights. And \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener\">Recycle Bookstore West\u003c/a> has a huge variety of used books; this location is especially good for cookbooks and children’s books.\u003c/p>\n\u003cfigure id=\"attachment_11150718\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg\" alt=\"Performances make a great gift.\" width=\"507\" height=\"600\" class=\"size-medium wp-image-11150718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-400x474.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2.jpg 517w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Performances make a great gift. \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My last suggestion for a great gift idea is the gift of a performance. It could be a professional touring musical, an avant garde dance company or an unusual performance art happening. It’s the kind of gift that many people won’t typically purchase for themselves, but will be immensely enjoyed once they get there. This works well too for recipients that live out of town (just search online for “live performance” & their location). They’ll be impressed that you took the time to find something great at their local venue that they probably didn’t even know about. Shipping is easy too since most tickets can easily be printed out at home and put into a holiday card.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I hope you discover some new favorite shops, are reminded of some old friends, and find that perfect gift for those you care about. \u003cem>Have a wonderful holiday season!\u003c/em>\u003c/p>\n\n",
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"title": "Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though everyone starts out with thoughtful gift ideas for our friends and loved ones, a lot of the times our plans don’t work out and we end up picking up last-minute finds, like gift cards from the rack near the cashier at the grocery store. This guide is for those who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. The added benefit is that you’ll also get to know some of San Jose’s best independent retailers — those welcoming spaces that we incorporate into a network that fosters individuality and help us South Bay residents love living here a little more than we already do.\u003c/p>\n\u003cp>\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/p>\n\u003cp>The shops highlighted below have been chosen for their unique offerings, affordability and value for the products or services they sell, as well as their proximity to other cool destinations — most are within walking distance of each other — because what money spent in San Jose stays here (mostly) and supports our hyper-local creative community. (Studies have consistently shown that independent retailers return more than three times as much money per dollar of sales than big box/chain stores; \u003ca href=\"http://www.amiba.net/resources/multiplier-effect/\" target=\"_blank\" rel=\"noopener\">current results\u003c/a> show $45 vs. $14 per $100 spent.)\u003c/p>\n\u003cfigure id=\"attachment_11150717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg\" alt=\"KALEID Gallery in downtown San Jose\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11150717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KALEID Gallery in downtown San Jose \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Downtown San Jose\u003c/h3>\n\u003cp>It may not be the bustling retail center you’d expect to find in most major cities, but that can be an advantage when it comes to the challenges of holiday shopping. Parking isn’t so bad, the shops are calm and the staff (often the owners themselves) are attentive and helpful. After your shopping is done, you can visit \u003ca href=\"http://christmasinthepark.com/\" target=\"_blank\" rel=\"noopener\">Christmas in the Park\u003c/a> for some replenishing of holiday cheer.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kaleidgallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>KALEID Gallery\u003c/strong>\u003c/a>\u003cbr>\n88 So. 4th St.\u003cbr>\nKALEID Gallery is a good place to start for one of a kind gifts created by incredibly talented artists. In addition to 90 resident artists peppered throughout the large space, the gallery is currently hosting its annual “HARK!” holiday show & sale, which consists of hundreds of affordable art works. Paintings dominate the walls from every genre imaginable but there’s also eye-catching jewelry, ceramics and glass, as well as small, functional items like ornaments and buttons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"http://circlea.com/\" target=\"_blank\" rel=\"noopener\">Circle A Skate\u003c/a> has everything needed for a new skateboard as well as clothing & shoes to go with it. \u003ca href=\"http://www.techshop.ws/ts_sanjose.html\" target=\"_blank\" rel=\"noopener\">TechShop SJ\u003c/a> offers memberships and gift cards for the chronic do-it-yourselfer. And classes at \u003ca href=\"https://touchstoneclimbing.com/the-studio/\" target=\"_blank\" rel=\"noopener\">The Studio Rock Climbing Gym \u003c/a> or \u003ca href=\"http://downtownyogashala.com/\" target=\"_blank\" rel=\"noopener\">Downtown Yoga Shala\u003c/a> will be meaningful to those that are health and fitness conscious. Finally, if you plan to visit on a weekend, stop by \u003ca href=\"http://www.sanpedrosquaremarket.com/\" target=\"_blank\" rel=\"noopener\">San Pedro Square Market\u003c/a> for the \u003ca href=\"http://www.sanjosemade.com/\" target=\"_blank\" rel=\"noopener\">SJMade\u003c/a> holiday pop-up event featuring a dozen local vendors tabling their wares.\u003c/p>\n\u003cfigure id=\"attachment_11150588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg\" alt=\"Art Boutiki on the Alameda\" width=\"800\" height=\"520\" class=\"size-medium wp-image-11150588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352.jpg 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Boutiki on the Alameda \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Alameda\u003c/h3>\n\u003cp>Not that long ago The Alameda was a quiet stretch of retailers and restaurants mainly serving the neighborhoods to its north and south. With the arrival of Whole Foods Market last year, it’s become a busy destination driving more attention and foot traffic to the area which is a great boost to some very deserving spots in the area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artboutiki.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Art Boutiki & Gallery\u003c/strong>\u003c/a>\u003cbr>\n44 Race St.\u003cbr>\nArt Boutiki is an unusual hybrid space with a comic book store in the front and live music venue in the back. Although it’s not a huge inventory of comics, it is a rigorously curated selection and easy to wade through (must haves like \u003cem>Johnny the Homicidal Maniac\u003c/em> by Jhonen Vasquez & \u003cem>Sandman\u003c/em> by Neil Gaiman are featured prominently.) The big gift idea here though is their digital direct-to-garment printing: imagine your face or latest drawing on t-shirts specially made just for your family or your closest friends. And these t-shirts, though affordable, aren’t chintzy — the full-color print will last the life of the tee.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"//www.thearsenalsj.com/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a> Art Store carries all the essential drawing, painting and spray painting materials needed for the budding or serious artist. \u003ca href=\"http://www.recyclebookstore.com\" target=\"_blank\" rel=\"noopener\">Recycle Books\u003c/a> is here with their headquarters location and has all their rare and hard to find inventory at this location. \u003ca href=\"http://shopblackandbrown.com\" target=\"_blank\" rel=\"noopener\">Black & Brown Clothing\u003c/a> should be your last quick stop before leaving the area. A used clothing store, Black & Brown carries both vintage and contemporary wear for all genders, all in gently-worn condition, while also providing a great selection of shoes, belts and handbags.\u003c/p>\n\u003cfigure id=\"attachment_11150589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg\" alt=\"Zonkey Toys in Japantown\" width=\"800\" height=\"519\" class=\"size-medium wp-image-11150589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zonkey Toys in Japantown \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Japantown\u003c/h3>\n\u003cp>Japantown is the destination for authentic Japanese culture past and present. Shops providing kimonos, bonsai and ukuleles exist in perfect harmony with edgy art galleries, tattoo parlors and streetwear clothing stores.\u003c/p>\n\u003cp>\u003ca href=\"http://zonkeytoys.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Zonkey Toys\u003c/strong>\u003c/a>\u003cbr>\n621 N. 6th St.\u003cbr>\nZonkey is a small storefront jam packed with limited edition collectibles. They pride themselves on their inventory and knowledge of “sofubi” toys (short for the Japanese “sofuto bineeru” meaning soft vinyl). These are labor intensive works of art and this shop aims to make sure its customers will be ahead of the next wave of the vinyl toy movement, which has gone underground (again).\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nJust around the corner from Zonkey is \u003ca href=\"http://koguraco.com/\" target=\"_blank\" rel=\"noopener\">Kogura Company\u003c/a> purveyors of specialty gift and household items directly from Japan, including tea pots, ceramic dishes, mugs and rice cookers. Next door is \u003ca href=\"http://cukui.com/\" target=\"_blank\" rel=\"noopener\">Cukui\u003c/a>, a gallery/clothing store sporting custom graphics inspired by a mashup of Chicano and South Pacific Islander cultures, as well as graffiti influences. And a few paces down is \u003ca href=\"http://www.petitegalleria.com\" target=\"_blank\" rel=\"noopener\">Petite Galleria\u003c/a> with hundreds of beautiful artisanal products, from clever earrings to elaborate, limited-edition art pieces.\u003c/p>\n\u003cfigure id=\"attachment_11150590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg\" alt=\"Whatnots and Dodads in Willow Glen\" width=\"800\" height=\"579\" class=\"size-medium wp-image-11150590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whatnots and Dodads in Willow Glen \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Glen\u003c/h3>\n\u003cp>Sundays are a great day to grab a cappuccino at the Italian coffee shop \u003ca href=\"http://dolcettocafeandmarket.com\" target=\"_blank\" rel=\"noopener\">Dolcetto Café\u003c/a> and whittle down your Christmas list on Lincoln Ave. popping in and out of a great deal of vintage, clothing and creative novelty shops.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhatnotsandDodads/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Whatnots & Dodads \u003c/strong>\u003c/a>\u003cbr>\n1330 Lincoln Ave.\u003cbr>\nWhatnots & Dodads will instantly put you in the Christmas spirit with their elaborate holiday trees decked out in antique ornaments and lights. They have 23 vendor niches focusing on well-vetted items including, but not limited to: figurines, classic cameras, western memorabilia, beautiful scarves and jewelry.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nOther vintage stores include the quirky \u003ca href=\"http://www.parkplacevintage.com/\" target=\"_blank\" rel=\"noopener\">Park Place Vintage\u003c/a> and the quaint \u003ca href=\"http://www.threesisterswillowglen.com/\" target=\"_blank\" rel=\"noopener\">Three Sisters\u003c/a>, which also carries excellent local honey. And you’ll find great bargains at the \u003ca href=\"http://www.thriftbox.org/\" target=\"_blank\" rel=\"noopener\">Thrift Box\u003c/a> which benefits the Lucille Packard Children’s Hospital. Stop into \u003ca href=\"https://www.facebook.com/UNDERGROUNDwg/\" target=\"_blank\" rel=\"noopener\">Underground Clothing\u003c/a> for chic clothing for men & women. It’s also worth mentioning that \u003ca href=\"http://www.goodkarmabikes.org/\" target=\"_blank\" rel=\"noopener\">Good Karma Bikes\u003c/a> has moved into the area — just a few blocks north on Lincoln Ave. They sell hundreds of “rehabilitated” bicycles, and all proceeds from sales go towards programs for foster kids and disadvantaged youth. They also grant bikes to low income residents.\u003c/p>\n\u003cfigure id=\"attachment_11150591\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg\" alt=\"On the Corner Music in Campbell\" width=\"480\" height=\"720\" class=\"size-full wp-image-11150591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">On the Corner Music in Campbell \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Campbell\u003c/h3>\n\u003cp>For a bit of “Hometown, USA” nostalgia, main street Campbell is just the place to stroll if you don’t know exactly what you’re looking for but hope you’ll find that perfect something.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/On-The-Corner-Music/117238371673344\" target=\"_blank\" rel=\"noopener\">\u003cstrong>On the Corner Music \u003c/strong>\u003c/a>\u003cbr>\n530 E. Campbell Ave.\u003cbr>\nAt On the Corner Music, they know that great music stands the test of time, and that there’s nothing better than listening to it on vinyl. They have thousands of albums packed into well-organized bins, ranging from classic rock, alternative, and jazz, and their prices start at a mere $1. There are also two turntables so you can listen to your selections before purchasing them, to make sure your gift is as awesome as you remembered it in high school.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nMake your way north down the main strip and stop into \u003ca href=\"http://www.moonfyre.net/%20store\" target=\"_blank\" rel=\"noopener\">Moon Fyre Metaphysical\u003c/a> store for divine smelling oils to wear and incense to burn. \u003ca href=\"http://www.kaleidolamps.com/\" target=\"_blank\" rel=\"noopener\">Kaleido Lamps \u003c/a>is the place for far out lamps and fun night lights. And \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener\">Recycle Bookstore West\u003c/a> has a huge variety of used books; this location is especially good for cookbooks and children’s books.\u003c/p>\n\u003cfigure id=\"attachment_11150718\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg\" alt=\"Performances make a great gift.\" width=\"507\" height=\"600\" class=\"size-medium wp-image-11150718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-400x474.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2.jpg 517w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Performances make a great gift. \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My last suggestion for a great gift idea is the gift of a performance. It could be a professional touring musical, an avant garde dance company or an unusual performance art happening. It’s the kind of gift that many people won’t typically purchase for themselves, but will be immensely enjoyed once they get there. This works well too for recipients that live out of town (just search online for “live performance” & their location). They’ll be impressed that you took the time to find something great at their local venue that they probably didn’t even know about. Shipping is easy too since most tickets can easily be printed out at home and put into a holiday card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hope you discover some new favorite shops, are reminded of some old friends, and find that perfect gift for those you care about. \u003cem>Have a wonderful holiday season!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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