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"content": "\u003cp>San Francisco supervisors are considering a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey over his lavish 2013 wedding to a former reality television star.\u003c/p>\n\u003cp>A committee of the Board of Supervisors is scheduled to take up the proposed settlement Thursday.\u003c/p>\n\u003cp>Neal Schon married \u003cem>Real Housewives of D.C.\u003c/em> star Michaele Salahi in Dec. 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum.\u003c/p>\n\u003cp>Schon said he agreed to pay the city $58,000 for the use, but was surprised to learn days before the wedding that he would have to pay $240,000 for the opulent event to go on. He reluctantly paid, likening the price hike to “extortion.”\u003c/p>\n\u003cp>The couple sued in federal court in February, claiming that the city unfairly jacked up the fee after learning the couple planned to broadcast the event on pay-per-view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event. He could not be reached immediately for comment Wednesday, which is a government holiday.\u003c/p>\n\u003cp>In a statement this week, Michaele Schon called the city’s conduct “reprehensible” and said “hopefully, this will make the city think twice before doing this to anyone else in the future.”\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event. He could not be reached immediately for comment Wednesday, which is a government holiday.\u003c/p>\n\u003cp>In a statement this week, Michaele Schon called the city’s conduct “reprehensible” and said “hopefully, this will make the city think twice before doing this to anyone else in the future.”\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "from-nashville-mysticism-to-hip-hop-pioneers-this-weeks-live-music-picks",
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"content": "\u003cp>We tend to get obsessed with originators in music. Who invented rock ‘n’ roll? Who invented jazz? Who invented hip-hop? No one really knows the answers to these tiresome questions, but there \u003cem>are\u003c/em> clear pioneers who affected certain art forms in their early stages. This week’s live music picks include two such acts — Yo La Tengo and the Last Poets — as well as artists from Mexico, Long Beach and Nashville known for innovating their respective fields.\u003c/p>\n\u003cfigure id=\"attachment_11075019\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmandaMiguel-1180x885.jpg\" alt=\"Amanda Miguel.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11075019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel.jpg 1267w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Miguel.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 13: Amanda Miguel at the Wells Fargo Center\u003c/strong>. Born in Argentina and elevated to star status in Mexico, Amanda Miguel has enjoyed a nearly 30-year career thanks to the strength of hits like “\u003ca href=\"https://www.youtube.com/watch?v=zbZhHfksN_o\" target=\"_blank\" rel=\"noopener\">Él Me Mintió\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=eu18P9ydLcI\" target=\"_blank\" rel=\"noopener\">Mi Buen Corazón\u003c/a>.” In the North Bay, where a large Latino population provides back-breaking muscle for the wine industry this time each year for harvest, her strong voice and uplifting songs should provide a timely comfort. She appears with her husband Diego Verdaguer. \u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2041\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday–Sunday, Nov. 13-15: Mill Valley Philharmonic, ‘Rain Dance: The Orchestra and the Drought.’\u003c/strong> Planning a classical concert to specifically address California’s drought might seem audacious, but Mill Valley Philharmonic director Laurie Cohen has assembled a program that’s musically cohesive as well. The program includes a recitation of Coast Miwok prayer songs; Virgil Thomson’s \u003cem>Soil Erosion\u003c/em>, \u003cem>Drought\u003c/em> and \u003cem>Devastation\u003c/em>; Debussy’s \u003cem>Nuages\u003c/em> (“Clouds”); and Brahms’ Symphony No. 3, written during a retreat along the Rhine river. In its 16-year existence, the Mill Valley Philharmonic has managed to keep all concerts free, nobly presenting quality performances with no barrier to entry. \u003ca href=\"http://millvalleyphilharmonic.org/concerts/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 14: Yo La Tengo at the Masonic\u003c/strong>. There’s a one-two succession of songs closing out Yo La Tengo’s 1997 album \u003cem>I Can Hear the Heart Beating as One\u003c/em> that represents the Hoboken trio’s dual nature perfectly. “We’re an American Band” starts as a cyclical, eerie number before exploding into an intense, four-minute guitar freakout; afterward, a sweet, non-ironic cover of the Carpenters’ “My Little Corner of the World” serves as an aural dinner mint. Live an onstage, the early developers of what we know as indie rock explore these extremes with adroit skill and between-song wit — to say nothing of their huge catalog of wonderful songs and covers — proving why they’re such a beloved institution. \u003ca href=\"http://sfmasonic.com/event/yo-la-tengo/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 14: The Last Poets at the Phoenix Theater\u003c/strong>. The Sugarhill Gang may have had the genre’s first hit record with “Rapper’s Delight,” but the true origins of hip-hop are murky at best (even Blowfly, the stag-party purveyor of funky filth sometimes credited with inventing the form, continually directs platitudes to country singer Tex Williams and his 1947 hit “Smoke! Smoke! Smoke! (That Cigarette),” a rapid talking blues). Yet nobody can deny the path pioneered by the Last Poets. In 1970, the group released its debut album of percussion, politics and spoken-word, laying a formidable foundation for hip-hop. Members have come and gone over the years, but key members Umar Bin Hassan and Abiodun Oyewole join Babatunde under the Last Poets name this week, capping a day of spoken-word workshops and documentary film in a benefit for radio station KWTF. \u003ca href=\"http://www.kwtf.net/the-last-poets/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11075020\" class=\"wp-caption alignright\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/VinceStaples.jpg\" alt=\"Vince Staples.\" width=\"617\" height=\"463\" class=\"size-full wp-image-11075020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/VinceStaples.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/VinceStaples-400x300.jpg 400w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">Vince Staples.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Nov. 15: Vince Staples at the Bill Graham Civic Auditorium\u003c/strong>. Have you ever gone to a show solely for the opening act? I surely have, and I know at least three people planning to leave this show early. A$AP Rocky, Tyler the Creator and Danny Brown may be higher on the bill, but all eyes are on Vince Staples, a Long Beach rapper whose recent full-length \u003cem>Summertime ’06\u003c/em> continues to inspire. Staples found himself in hot water last month by questioning the world’s ubiquitous reverence for 1990s hip-hop, and through his subsequent explanations of his comments, managed to come out of the mini-scandal as smarter and funnier than he’d been known for. \u003ca href=\"http://www.apeconcerts.com/event/932993-asap-rocky-tyler-creator-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 18: Sturgill Simpson at the Fox Theater\u003c/strong>. “Three chords and the truth” means many things to many performers, but for Sturgill Simpson, it means mixing no-nonsense Nashville twang with a type of ethereal mysticism usually associated with New Age and/or the jam-band scene. Case in point: Simpson’s minor hit “\u003ca href=\"https://sturgillsimpson.bandcamp.com/track/turtles-all-the-way-down\" target=\"_blank\" rel=\"noopener\">Turtles All the Way Down\u003c/a>,” a title which anyone with an interest in cosmology should recognize. “Marijuana, LSD, psilocybin, and DMT,” Simpson sings, “they all changed the way I see, but love’s the only thing that ever saved my life.” Live, Simpson is a dynamic force, beating the life out of an acoustic guitar with a crackerjack backing band. Those who complain about “new country” will find what they’re looking for. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5140&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Our live-music picks this week for the Bay Area include Amanda Miguel, Yo La Tengo, the Last Poets, Vince Staples and Sturgill Simpson.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We tend to get obsessed with originators in music. Who invented rock ‘n’ roll? Who invented jazz? Who invented hip-hop? No one really knows the answers to these tiresome questions, but there \u003cem>are\u003c/em> clear pioneers who affected certain art forms in their early stages. This week’s live music picks include two such acts — Yo La Tengo and the Last Poets — as well as artists from Mexico, Long Beach and Nashville known for innovating their respective fields.\u003c/p>\n\u003cfigure id=\"attachment_11075019\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmandaMiguel-1180x885.jpg\" alt=\"Amanda Miguel.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11075019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmandaMiguel.jpg 1267w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Miguel.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Nov. 13: Amanda Miguel at the Wells Fargo Center\u003c/strong>. Born in Argentina and elevated to star status in Mexico, Amanda Miguel has enjoyed a nearly 30-year career thanks to the strength of hits like “\u003ca href=\"https://www.youtube.com/watch?v=zbZhHfksN_o\" target=\"_blank\" rel=\"noopener\">Él Me Mintió\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=eu18P9ydLcI\" target=\"_blank\" rel=\"noopener\">Mi Buen Corazón\u003c/a>.” In the North Bay, where a large Latino population provides back-breaking muscle for the wine industry this time each year for harvest, her strong voice and uplifting songs should provide a timely comfort. She appears with her husband Diego Verdaguer. \u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2041\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday–Sunday, Nov. 13-15: Mill Valley Philharmonic, ‘Rain Dance: The Orchestra and the Drought.’\u003c/strong> Planning a classical concert to specifically address California’s drought might seem audacious, but Mill Valley Philharmonic director Laurie Cohen has assembled a program that’s musically cohesive as well. The program includes a recitation of Coast Miwok prayer songs; Virgil Thomson’s \u003cem>Soil Erosion\u003c/em>, \u003cem>Drought\u003c/em> and \u003cem>Devastation\u003c/em>; Debussy’s \u003cem>Nuages\u003c/em> (“Clouds”); and Brahms’ Symphony No. 3, written during a retreat along the Rhine river. In its 16-year existence, the Mill Valley Philharmonic has managed to keep all concerts free, nobly presenting quality performances with no barrier to entry. \u003ca href=\"http://millvalleyphilharmonic.org/concerts/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 14: Yo La Tengo at the Masonic\u003c/strong>. There’s a one-two succession of songs closing out Yo La Tengo’s 1997 album \u003cem>I Can Hear the Heart Beating as One\u003c/em> that represents the Hoboken trio’s dual nature perfectly. “We’re an American Band” starts as a cyclical, eerie number before exploding into an intense, four-minute guitar freakout; afterward, a sweet, non-ironic cover of the Carpenters’ “My Little Corner of the World” serves as an aural dinner mint. Live an onstage, the early developers of what we know as indie rock explore these extremes with adroit skill and between-song wit — to say nothing of their huge catalog of wonderful songs and covers — proving why they’re such a beloved institution. \u003ca href=\"http://sfmasonic.com/event/yo-la-tengo/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 14: The Last Poets at the Phoenix Theater\u003c/strong>. The Sugarhill Gang may have had the genre’s first hit record with “Rapper’s Delight,” but the true origins of hip-hop are murky at best (even Blowfly, the stag-party purveyor of funky filth sometimes credited with inventing the form, continually directs platitudes to country singer Tex Williams and his 1947 hit “Smoke! Smoke! Smoke! (That Cigarette),” a rapid talking blues). Yet nobody can deny the path pioneered by the Last Poets. In 1970, the group released its debut album of percussion, politics and spoken-word, laying a formidable foundation for hip-hop. Members have come and gone over the years, but key members Umar Bin Hassan and Abiodun Oyewole join Babatunde under the Last Poets name this week, capping a day of spoken-word workshops and documentary film in a benefit for radio station KWTF. \u003ca href=\"http://www.kwtf.net/the-last-poets/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11075020\" class=\"wp-caption alignright\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/VinceStaples.jpg\" alt=\"Vince Staples.\" width=\"617\" height=\"463\" class=\"size-full wp-image-11075020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/VinceStaples.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/VinceStaples-400x300.jpg 400w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">Vince Staples.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Nov. 15: Vince Staples at the Bill Graham Civic Auditorium\u003c/strong>. Have you ever gone to a show solely for the opening act? I surely have, and I know at least three people planning to leave this show early. A$AP Rocky, Tyler the Creator and Danny Brown may be higher on the bill, but all eyes are on Vince Staples, a Long Beach rapper whose recent full-length \u003cem>Summertime ’06\u003c/em> continues to inspire. Staples found himself in hot water last month by questioning the world’s ubiquitous reverence for 1990s hip-hop, and through his subsequent explanations of his comments, managed to come out of the mini-scandal as smarter and funnier than he’d been known for. \u003ca href=\"http://www.apeconcerts.com/event/932993-asap-rocky-tyler-creator-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 18: Sturgill Simpson at the Fox Theater\u003c/strong>. “Three chords and the truth” means many things to many performers, but for Sturgill Simpson, it means mixing no-nonsense Nashville twang with a type of ethereal mysticism usually associated with New Age and/or the jam-band scene. Case in point: Simpson’s minor hit “\u003ca href=\"https://sturgillsimpson.bandcamp.com/track/turtles-all-the-way-down\" target=\"_blank\" rel=\"noopener\">Turtles All the Way Down\u003c/a>,” a title which anyone with an interest in cosmology should recognize. “Marijuana, LSD, psilocybin, and DMT,” Simpson sings, “they all changed the way I see, but love’s the only thing that ever saved my life.” Live, Simpson is a dynamic force, beating the life out of an acoustic guitar with a crackerjack backing band. Those who complain about “new country” will find what they’re looking for. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5140&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Allen Toussaint, Founding Father of New Orleans R&B, Dies at 77",
"headTitle": "Allen Toussaint, Founding Father of New Orleans R&B, Dies at 77 | KQED",
"content": "\u003cp>Allen Toussaint, the founding father of New Orleans R&B, \u003ca href=\"http://www.nytimes.com/2015/11/11/arts/music/allen-toussaint-dies.html\" target=\"_blank\" rel=\"noopener\">died Monday night\u003c/a> of a heart attack after a concert in Madrid. He was 77 years old.\u003c/p>\n\u003cp>Toussaint’s vast contributions to American music as a songwriter, pianist, singer and producer are far too extensive to enumerate here. But among his hundreds of songs, one sticks out, having served a particularly important purpose in the aftermath of Hurricane Katrina: “Yes We Can Can.” As the people of New Orleans struggled to process the storm’s damage and slowly rebuild, Toussaint’s hopeful exhortation served as a unifying anthem:\u003c/p>\n\u003cfigure id=\"attachment_11071044\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover.jpg\" alt=\"'Our New Orleans,' released in 2005.\" width=\"500\" height=\"500\" class=\"size-full wp-image-11071044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Our New Orleans,’ released in 2005.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>We got to make this land a better land\u003cbr>\nThan the world in which we live\u003cbr>\nAnd help each man be a better man\u003cbr>\nWith the kindness that we give\u003cbr>\nI know we can make it\u003cbr>\nI know darn well, we can work it out\u003cbr>\nOh, yes, we can, I know we can, can\u003cbr>\nYes, we can, can, why can’t we?\u003cbr>\nIf we wanna, yes, we can, can\u003c/p>\u003c/blockquote>\n\u003cp>I talked to Harry Connick, Jr. one year after Katrina, and he told me that if he could choose the official song for the city of New Orleans, it would be “Yes We Can Can.” “Especially right now,” \u003ca href=\"http://citysound.bohemian.com/2008/08/29/interview-harry-connick-jr-on-hurricane-katrina/\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “It’s so simple in its sentiment. It basically says, ‘I know we can do this.’ As cliché as it sounds, that’s kind of what we need to be saying… I mean, it couldn’t be more prophetic.”\u003c/p>\n\u003cp>“Yes We Can Can” was originally recorded by Toussaint protegée Lee Dorsey in 1970, at the tail end of the civil unrest of the 1960s. It became a hit in 1973 for the Pointer Sisters, who recorded the song at Wally Heider’s famous studio on Hyde St. in San Francisco.\u003c/p>\n\u003cp>Toussaint himself performed the song many times over the years, but the one that comes immediately to mind this morning is his version that opens the stellar benefit album \u003cem>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5077132\" target=\"_blank\" rel=\"noopener\">Our New Orleans: A Benefit Album for the Gulf Coast\u003c/a>\u003c/em>, released in 2005. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Click “play” below, and hear the sound of hope and determination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/mP3YhOzb74k\u003c/p>\n\n",
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"excerpt": "Remembering the musical giant through one of his hundreds of influential songs: 'Yes We Can Can,' a healing salve for a post-Katrina New Orleans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Allen Toussaint, the founding father of New Orleans R&B, \u003ca href=\"http://www.nytimes.com/2015/11/11/arts/music/allen-toussaint-dies.html\" target=\"_blank\" rel=\"noopener\">died Monday night\u003c/a> of a heart attack after a concert in Madrid. He was 77 years old.\u003c/p>\n\u003cp>Toussaint’s vast contributions to American music as a songwriter, pianist, singer and producer are far too extensive to enumerate here. But among his hundreds of songs, one sticks out, having served a particularly important purpose in the aftermath of Hurricane Katrina: “Yes We Can Can.” As the people of New Orleans struggled to process the storm’s damage and slowly rebuild, Toussaint’s hopeful exhortation served as a unifying anthem:\u003c/p>\n\u003cfigure id=\"attachment_11071044\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover.jpg\" alt=\"'Our New Orleans,' released in 2005.\" width=\"500\" height=\"500\" class=\"size-full wp-image-11071044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Our_New_Orleans_Benefit_Album_album_cover-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Our New Orleans,’ released in 2005.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>We got to make this land a better land\u003cbr>\nThan the world in which we live\u003cbr>\nAnd help each man be a better man\u003cbr>\nWith the kindness that we give\u003cbr>\nI know we can make it\u003cbr>\nI know darn well, we can work it out\u003cbr>\nOh, yes, we can, I know we can, can\u003cbr>\nYes, we can, can, why can’t we?\u003cbr>\nIf we wanna, yes, we can, can\u003c/p>\u003c/blockquote>\n\u003cp>I talked to Harry Connick, Jr. one year after Katrina, and he told me that if he could choose the official song for the city of New Orleans, it would be “Yes We Can Can.” “Especially right now,” \u003ca href=\"http://citysound.bohemian.com/2008/08/29/interview-harry-connick-jr-on-hurricane-katrina/\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “It’s so simple in its sentiment. It basically says, ‘I know we can do this.’ As cliché as it sounds, that’s kind of what we need to be saying… I mean, it couldn’t be more prophetic.”\u003c/p>\n\u003cp>“Yes We Can Can” was originally recorded by Toussaint protegée Lee Dorsey in 1970, at the tail end of the civil unrest of the 1960s. It became a hit in 1973 for the Pointer Sisters, who recorded the song at Wally Heider’s famous studio on Hyde St. in San Francisco.\u003c/p>\n\u003cp>Toussaint himself performed the song many times over the years, but the one that comes immediately to mind this morning is his version that opens the stellar benefit album \u003cem>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5077132\" target=\"_blank\" rel=\"noopener\">Our New Orleans: A Benefit Album for the Gulf Coast\u003c/a>\u003c/em>, released in 2005. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland Kids Make Opera Based on 'Amazing Grace' Children's Book Series",
"headTitle": "Oakland Kids Make Opera Based on ‘Amazing Grace’ Children’s Book Series | KQED",
"content": "\u003cp>With arts education budgets being slashed from elementary schools across the nation, it looks like the audience of the tomorrow is in jeopardy. One local gem of the Bay Area opera scene is trying to change this situation one elementary school at a time.\u003c/p>\n\u003cp>San Francisco based \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> specializes in new chamber works and is in the third year of an arts education program called “Hands-on-Opera.” The initiative involves an eight-week residency at a Bay Area elementary school in which students learn to put on a short opera complete with a conductor and a stage director, and then perform it before an audience.\u003c/p>\n\u003cp>This year, the company is working with fourth and fifth graders from Saint Martin de Porres Catholic School in Oakland on the world premiere of composer Christopher Pratorius’ \u003cem>Amazing Grace\u003c/em>, based on British author Mary Hoffman’s book of the same name. The 30-minute-long work tells the story of an optimistic girl named Grace who tries out for the role of Peter Pan even though her classmates think she is unsuitable for the part.\u003c/p>\n\u003cp>Pratorius teaches at the University of California, Santa Cruz (UCSC) and at Cal State Monterey Bay. He’s also Opera Parallèle’s composer in residence.\u003c/p>\n\u003cp>Pratorius answered some questions about this work — it’s his second children’s opera — and the program that is bringing it to life.\u003c/p>\n\u003cfigure id=\"attachment_11036749\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11036749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png\" alt=\"Christopher Pratorius\" width=\"400\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius.png 576w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Christopher Pratorius. \u003ccite>(Photo: Lucrecia Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you become involved with Opera Parallèle as composer in residence?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve known artistic director Nicole Paiement and creative director Brian Staufenbiel since I was an undergraduate student at UCSC — they both were faculty members at the school. Nicole and Brian always champion young composers and new music in general, and as such we formed relationships in which I was able to grow as a composer. In a way, from my perspective, this is a logical culmination of musical dialogues that have been carried out over the last 15 years.\u003c/p>\n\u003cp>\u003cstrong>Amazing Grace is the second of three operas you’ve been commissioned to compose for Opera Parallèle. How did you decide on topics for your children’s operas? \u003c/strong>\u003c/p>\n\u003cp>These first two operas librettos were developed by Opera Parallèle and then brought to me to set, which I have found to be a really wonderful way to work. I’ve asked the musicians who’ve commissioned works in the past to choose the text, because in this way I’m working outside of my comfort zone, and that ends up prompting new musical ideas.\u003c/p>\n\u003cp>\u003cstrong>Have you considered writing one of these operas in Spanish, since you are a native speaker of this language?\u003c/strong>\u003c/p>\n\u003cp>In regards to a Spanish language opera, I would prefer a bilingual opera, something that reflects my experiences growing up. I’m certain that will happen at some point.\u003c/p>\n\u003cp>\u003cstrong>What is the rationale behind Hands-On-Opera? Is it a method of building a new audience for contemporary opera?\u003c/strong>\u003c/p>\n\u003cp>From my perspective, the primary goal is to not only bring music and opera to the specific kids we work with in these productions, but also to develop repertoire that can be used in the future to work with children in this manner.\u003c/p>\n\u003cp>The repertoire we are developing is unique in that it presents attractive and singable music for the children and more sophisticated and difficult music for the adult singers without the sense that it’s stereotypical kid’s music. The goal for me was to use the musical language I always use to tell stories that resonate with children. I think some of the arias are as musically interesting and sophisticated as settings I’ve done of Neruda or Garcia Lorca.\u003c/p>\n\u003cp>It’s also very important to me that all people envision that doors are open to them, including those of the opera house. Opera is for everyone.\u003c/p>\n\u003cp>\u003cstrong>How many children are participating? Do the children play in the orchestra?\u003c/strong>\u003c/p>\n\u003cp>I believe we have about 20 kids in the production, and they form the choir; they do not play instruments.\u003c/p>\n\u003cp>\u003cstrong>What are the particular challenges of working with children? \u003c/strong>\u003c/p>\n\u003cp>In my mind, the challenges are the same ones our teachers face every day. Maintaining focus and motivation, teaching kids to work towards long term goals, and of course dealing with the burden kids face of trying to excel in school while enduring difficult circumstances at home and in their communities. They are the same challenges all educators face, I think. The pay offs, for kids and adults alike, are huge: the joy of sharing music, the great lessons of working as a team, and of course the magic of performing art in front of an audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Amazing Grace\u003c/em> will performed at the African American Art and Culture Complex, 762 Fulton Street (at Webster), San Francisco on Nov. 12, 6:00 pm and Nov. 14, 11:00 am and 1:00 pm.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With arts education budgets being slashed from elementary schools across the nation, it looks like the audience of the tomorrow is in jeopardy. One local gem of the Bay Area opera scene is trying to change this situation one elementary school at a time.\u003c/p>\n\u003cp>San Francisco based \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> specializes in new chamber works and is in the third year of an arts education program called “Hands-on-Opera.” The initiative involves an eight-week residency at a Bay Area elementary school in which students learn to put on a short opera complete with a conductor and a stage director, and then perform it before an audience.\u003c/p>\n\u003cp>This year, the company is working with fourth and fifth graders from Saint Martin de Porres Catholic School in Oakland on the world premiere of composer Christopher Pratorius’ \u003cem>Amazing Grace\u003c/em>, based on British author Mary Hoffman’s book of the same name. The 30-minute-long work tells the story of an optimistic girl named Grace who tries out for the role of Peter Pan even though her classmates think she is unsuitable for the part.\u003c/p>\n\u003cp>Pratorius teaches at the University of California, Santa Cruz (UCSC) and at Cal State Monterey Bay. He’s also Opera Parallèle’s composer in residence.\u003c/p>\n\u003cp>Pratorius answered some questions about this work — it’s his second children’s opera — and the program that is bringing it to life.\u003c/p>\n\u003cfigure id=\"attachment_11036749\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11036749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png\" alt=\"Christopher Pratorius\" width=\"400\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius.png 576w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Christopher Pratorius. \u003ccite>(Photo: Lucrecia Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you become involved with Opera Parallèle as composer in residence?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve known artistic director Nicole Paiement and creative director Brian Staufenbiel since I was an undergraduate student at UCSC — they both were faculty members at the school. Nicole and Brian always champion young composers and new music in general, and as such we formed relationships in which I was able to grow as a composer. In a way, from my perspective, this is a logical culmination of musical dialogues that have been carried out over the last 15 years.\u003c/p>\n\u003cp>\u003cstrong>Amazing Grace is the second of three operas you’ve been commissioned to compose for Opera Parallèle. How did you decide on topics for your children’s operas? \u003c/strong>\u003c/p>\n\u003cp>These first two operas librettos were developed by Opera Parallèle and then brought to me to set, which I have found to be a really wonderful way to work. I’ve asked the musicians who’ve commissioned works in the past to choose the text, because in this way I’m working outside of my comfort zone, and that ends up prompting new musical ideas.\u003c/p>\n\u003cp>\u003cstrong>Have you considered writing one of these operas in Spanish, since you are a native speaker of this language?\u003c/strong>\u003c/p>\n\u003cp>In regards to a Spanish language opera, I would prefer a bilingual opera, something that reflects my experiences growing up. I’m certain that will happen at some point.\u003c/p>\n\u003cp>\u003cstrong>What is the rationale behind Hands-On-Opera? Is it a method of building a new audience for contemporary opera?\u003c/strong>\u003c/p>\n\u003cp>From my perspective, the primary goal is to not only bring music and opera to the specific kids we work with in these productions, but also to develop repertoire that can be used in the future to work with children in this manner.\u003c/p>\n\u003cp>The repertoire we are developing is unique in that it presents attractive and singable music for the children and more sophisticated and difficult music for the adult singers without the sense that it’s stereotypical kid’s music. The goal for me was to use the musical language I always use to tell stories that resonate with children. I think some of the arias are as musically interesting and sophisticated as settings I’ve done of Neruda or Garcia Lorca.\u003c/p>\n\u003cp>It’s also very important to me that all people envision that doors are open to them, including those of the opera house. Opera is for everyone.\u003c/p>\n\u003cp>\u003cstrong>How many children are participating? Do the children play in the orchestra?\u003c/strong>\u003c/p>\n\u003cp>I believe we have about 20 kids in the production, and they form the choir; they do not play instruments.\u003c/p>\n\u003cp>\u003cstrong>What are the particular challenges of working with children? \u003c/strong>\u003c/p>\n\u003cp>In my mind, the challenges are the same ones our teachers face every day. Maintaining focus and motivation, teaching kids to work towards long term goals, and of course dealing with the burden kids face of trying to excel in school while enduring difficult circumstances at home and in their communities. They are the same challenges all educators face, I think. The pay offs, for kids and adults alike, are huge: the joy of sharing music, the great lessons of working as a team, and of course the magic of performing art in front of an audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Amazing Grace\u003c/em> will performed at the African American Art and Culture Complex, 762 Fulton Street (at Webster), San Francisco on Nov. 12, 6:00 pm and Nov. 14, 11:00 am and 1:00 pm.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Picture this: You're heading home after a long day of work and, since it's dark and rainy outside, you decide to treat yourself with a cab ride as opposed to the bus. Or maybe you've successfully made it through an entire bachelorette party bar crawl -- worn the t-shirt, done the shots, successfully avoided drama with the hammered and bossy maid of honor -- and now you finally get to go home and go to sleep. You hail a Lyft. And f*cking Justin Bieber is in it.\u003c/p>\n\u003cp>\"Hey girl,\" says Justin Bieber, from the passenger seat of the car, ostentatious jewelry glinting from beneath his hoodie. Maybe he fist-bumps you. \"Wanna hear my new album?\"\u003c/p>\n\u003cp>Yes, this is the kind of nightmare I might make up whilst in the thick of a severe fever, but it's now also \u003cem>entirely possible\u003c/em>, thanks to the San Francisco-based ridesharing giant, which announced today that \u003ca href=\"http://www.wired.com/2015/11/you-can-get-justin-biebers-new-album-by-hailing-a-lyft-wait-what/\" target=\"_blank\">it's decided to go after the much-coveted Belieber market\u003c/a>. From Nov. 12 to Nov. 19, fans will be able to purchase \u003cem>Purpose\u003c/em> for $5 through the Lyft app by signing in and sliding into \"Bieber mode\" (which is not, sadly, a feature that turns your phone into an overdramatic, entitled 21-year-old problem child who says \"swag\" all the time for no reason).\u003c/p>\n\u003cp>\u003cem>But there's more!\u003c/em> In order to promote the new record, the Biebs is taking some time off from \u003ca href=\"http://www.nydailynews.com/entertainment/gossip/justin-bieber-flips-chair-cannes-restaurant-article-1.2426961\" target=\"_blank\">throwing tantrums in French restaurants \u003c/a>to surprise Lyft customers across the nation by being in their cars, uninvited. Here are some instances in which that apparently went well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFNe9ZKAiCQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While ostensibly the in-person Bieber Surprise will only affect Lyft users who voluntarily enter Bieber Mode, this teaser video was released prior to the promotion officially starting. Fingers crossed that footage from the cutting room floor surfaces eventually, because there's no doubt that at least one person -- upon being surprised by Justin Bieber trying to talk about his new album while they were \u003cem>just trying to get home for crying out loud -- \u003c/em>got in, closed the door\u003cem>, \u003c/em>took one look at the Biebs, the camera, and the whole setup, and promptly issued an \"Oh, \u003cem>hell\u003c/em> no\" for the ages. We'll be on the lookout.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture this: You're heading home after a long day of work and, since it's dark and rainy outside, you decide to treat yourself with a cab ride as opposed to the bus. Or maybe you've successfully made it through an entire bachelorette party bar crawl -- worn the t-shirt, done the shots, successfully avoided drama with the hammered and bossy maid of honor -- and now you finally get to go home and go to sleep. You hail a Lyft. And f*cking Justin Bieber is in it.\u003c/p>\n\u003cp>\"Hey girl,\" says Justin Bieber, from the passenger seat of the car, ostentatious jewelry glinting from beneath his hoodie. Maybe he fist-bumps you. \"Wanna hear my new album?\"\u003c/p>\n\u003cp>Yes, this is the kind of nightmare I might make up whilst in the thick of a severe fever, but it's now also \u003cem>entirely possible\u003c/em>, thanks to the San Francisco-based ridesharing giant, which announced today that \u003ca href=\"http://www.wired.com/2015/11/you-can-get-justin-biebers-new-album-by-hailing-a-lyft-wait-what/\" target=\"_blank\">it's decided to go after the much-coveted Belieber market\u003c/a>. From Nov. 12 to Nov. 19, fans will be able to purchase \u003cem>Purpose\u003c/em> for $5 through the Lyft app by signing in and sliding into \"Bieber mode\" (which is not, sadly, a feature that turns your phone into an overdramatic, entitled 21-year-old problem child who says \"swag\" all the time for no reason).\u003c/p>\n\u003cp>\u003cem>But there's more!\u003c/em> In order to promote the new record, the Biebs is taking some time off from \u003ca href=\"http://www.nydailynews.com/entertainment/gossip/justin-bieber-flips-chair-cannes-restaurant-article-1.2426961\" target=\"_blank\">throwing tantrums in French restaurants \u003c/a>to surprise Lyft customers across the nation by being in their cars, uninvited. Here are some instances in which that apparently went well.\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/VFNe9ZKAiCQ'\n title='//www.youtube.com/embed/VFNe9ZKAiCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Girls to the Stage: 7 All-Female Punk Bands From the Bay Area",
"headTitle": "Girls to the Stage: 7 All-Female Punk Bands From the Bay Area | KQED",
"content": "\u003cp>One of the queens of the original Riot Grrrl scene, Carrie Brownstein of Sleater-Kinney, came through the Bay Area this week on tour to promote \u003ca href=\"http://ww2.kqed.org/arts/2015/11/01/from-the-margins-to-the-mainstream-carrie-brownsteins-hunger-makes-me-a-modern-girl/\" target=\"_blank\" rel=\"noopener\">her new memoir\u003c/a>, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>. She might be known mainly as a writer and actor now — she’s a star on the hit comedy show \u003ci>Portlandia\u003c/i> — but she’s still playing rock ‘n’ roll with Sleater-Kinney, who released a \u003ca href=\"http://pitchfork.com/reviews/albums/20148-no-cities-to-love/\" target=\"_blank\" rel=\"noopener\">new album called \u003ci>No Cities To Love\u003c/i> this year\u003c/a>.\u003c/p>\n\u003cp>Though her Olympia-bred trio stands as one of the best all-female rock bands to ever grace a stage, they certainly weren’t the first — nor will they be the last. As a matter of fact, some of the most rocking all-girl groups have come from the Bay Area, and Brownstein’s victory lap through the city is the perfect reason to celebrate them. Below are seven Bay Area-born bands that helped destroy the myth of rock as a club for boys only.\u003c/p>\n\u003ch2>The Donnas\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=AlbSiEoZlsI\u003c/p>\n\u003cp>Straight outta Palo Alto, The Donnas are definitely the most well-known band on this list: Not only did they score a record deal with a major label (Atlantic Records), they made their way onto several movie and video game soundtracks, with band members even appearing in the 1999 teen comedy \u003ci>Drive Me Crazy\u003c/i> as their alter egos, the Electrocutes. Though the majority of their song catalog represented their love of ’70s hard rock and ’80s glam metal, their early releases were buzzsaw punk rock — records so good they deserve a spot next to the Ramones’ first three albums on punk’s Mount Rushmore.\u003c/p>\n\u003ch2>Tribe 8\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=vn56w4EObwo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tribe 8 isn’t notable just because they were a group of rockers who gave the grunge bands of the early ’90s a run for their money. They were also proud lesbians who are credited as being one of the first “Queercore” bands, members of a genre that would help smash the prevailing homophobia within the American hardcore scene. Their impact can not be ignored, and their epic live shows, which typically featured lead singer Lynn Breedlove topless, will not be forgotten. (You can learn more about the band by watching the award-winning 2003 documentary \u003ci>Rise Above: A Tribe 8 Documentary.\u003c/i>)\u003c/p>\n\u003ch2>Spitboy\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XXWBwl5liRc\u003c/p>\n\u003cp>While the hardcore scene was obviously male-dominated, an even bigger boys’ club was the ’90s anarcho-punk scene that included groups like Aus Rotten and Disrupt and Resist. Spitboy were a shining light among the black clothing, butt flaps and face-jewelry, reminding the shower-hating members of the genre that women’s rights were just as important as destroying capitalism. As you can hear, their musical output (especially their split LP with Los Crudos) sounds just as powerful as it did back then.\u003c/p>\n\u003ch2>Frightwig\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=lVDaYzP5xpg\u003c/p>\n\u003cp>We can’t write enough \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/fantasy-lineup-six-great-sf-bands-not-included-in-the-city-hall-centennial/\" target=\"_blank\" rel=\"noopener\">about the greatness of Frightwig\u003c/a>, who started back in the early ’80s and are still going strong today. They were Riot Grrrl before the scene existed, unabashedly feminist in a time when pop music was stating that “Girls Just Wanna To Have Fun” (\u003ca href=\"https://en.wikipedia.org/wiki/Girls_Just_Want_to_Have_Fun\" target=\"_blank\" rel=\"noopener\">a song written by a man\u003c/a>, by the way.) Their sound is impossible to categorize, ranging from dirge-y proto-grunge to no wave to straight-ahead punk, and releases such as \u003ci>Cat Farm Faboo\u003c/i> are must-haves for punk collectors. They’ve been playing out quite frequently in recent days with groups like Psychic TV and L7, and a recent performance backing \u003ca href=\"https://www.youtube.com/watch?v=0Sh3mMHL0wY\" target=\"_blank\" rel=\"noopener\">LA punk legend Alice Bag\u003c/a> shows they’re just as vicious live as they were decades ago.\u003c/p>\n\u003ch2>Trashwomen\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ur_RUjhhhQ4\u003c/p>\n\u003cp>In the early ’90s, San Francisco became home of the re-emergence of lo-fi garage music, which would brand itself “Budget Rock.” Again, many of the bands attached to the scene were all dudes — the Mummies, the Rip Offs, the Phantom Surfers — but the Trashwomen put all the boys in their place with a blend of dirty surf and garage punk. Drummer Tina Lucchesi would go on to front bands like The Bobbyteens and Tina & the Total Babes, whose 2001 self-titled LP was a watermark in the neo-power pop scene, while shredding surf guitarist Elka Zolot had her young daughter, Natassia, make her singing debut on one of their records, “\u003ca href=\"https://www.youtube.com/watch?v=s2L1s6P5UCA\" target=\"_blank\" rel=\"noopener\">Boys Are Toys\u003c/a>.” Years later, Natassia would take the stage name Kreayshawn, and in 2011 she’d become a household name through the viral web hit “\u003ca href=\"https://www.youtube.com/watch?v=6WJFjXtHcy4\" target=\"_blank\" rel=\"noopener\">Gucci Gucci\u003c/a>.”\u003c/p>\n\u003ch2>Raooul\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pznoc0nFcRA\u003c/p>\n\u003cp>While labels like K and Kill Rock Stars capitalized on the Riot Grrl scene by signing up Northwestern groups like Bratmobile and Bikini Kill, Berkeley’s Lookout! Records had Raooul. One difference? The members were in their early teens, so they described their music as being “Jail Bait Core” (also the name of their singular release on Lookout, a split LP with London’s Skinned Teen.) They might not have had overly impressive musicianship, but they had spirit — and their snotty, immature lyrics are also pretty damn funny.\u003c/p>\n\u003ch2>Grass Widow\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9Cveys2XSWM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only band on this list that was founded after 9/11 — they started in 2007 — Grass Widow needed to be included on this list simply because they’re absolutely fantastic. Though they could easily be grouped with the tons of other retro post-punk groups that have occupied the indie rock scene for the past few years, their musicianship and needlework melodies should never be forgotten. They released plenty in the six years they were together, and all of it is worth picking up. And if you’re still jonesing for rocking-yet-pretty jams after you’ve gone through the entire Grass Widow catalog, I highly suggest checking out the rip-roaring shoegaze of Cold Beat, which features Grass Widow bassist Hannah Lew.\u003c/p>\n\n",
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"description": "One of the queens of the original Riot Grrrl scene, Carrie Brownstein of Sleater-Kinney, came through the Bay Area this week on tour to promote her new memoir, Hunger Makes Me a Modern Girl. She might be known mainly as a writer and actor now -- she's a star on the hit comedy show Portlandia",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the queens of the original Riot Grrrl scene, Carrie Brownstein of Sleater-Kinney, came through the Bay Area this week on tour to promote \u003ca href=\"http://ww2.kqed.org/arts/2015/11/01/from-the-margins-to-the-mainstream-carrie-brownsteins-hunger-makes-me-a-modern-girl/\" target=\"_blank\" rel=\"noopener\">her new memoir\u003c/a>, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>. She might be known mainly as a writer and actor now — she’s a star on the hit comedy show \u003ci>Portlandia\u003c/i> — but she’s still playing rock ‘n’ roll with Sleater-Kinney, who released a \u003ca href=\"http://pitchfork.com/reviews/albums/20148-no-cities-to-love/\" target=\"_blank\" rel=\"noopener\">new album called \u003ci>No Cities To Love\u003c/i> this year\u003c/a>.\u003c/p>\n\u003cp>Though her Olympia-bred trio stands as one of the best all-female rock bands to ever grace a stage, they certainly weren’t the first — nor will they be the last. As a matter of fact, some of the most rocking all-girl groups have come from the Bay Area, and Brownstein’s victory lap through the city is the perfect reason to celebrate them. Below are seven Bay Area-born bands that helped destroy the myth of rock as a club for boys only.\u003c/p>\n\u003ch2>The Donnas\u003c/h2>\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/AlbSiEoZlsI'\n title='//www.youtube.com/embed/AlbSiEoZlsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Straight outta Palo Alto, The Donnas are definitely the most well-known band on this list: Not only did they score a record deal with a major label (Atlantic Records), they made their way onto several movie and video game soundtracks, with band members even appearing in the 1999 teen comedy \u003ci>Drive Me Crazy\u003c/i> as their alter egos, the Electrocutes. Though the majority of their song catalog represented their love of ’70s hard rock and ’80s glam metal, their early releases were buzzsaw punk rock — records so good they deserve a spot next to the Ramones’ first three albums on punk’s Mount Rushmore.\u003c/p>\n\u003ch2>Tribe 8\u003c/h2>\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/vn56w4EObwo'\n title='//www.youtube.com/embed/vn56w4EObwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tribe 8 isn’t notable just because they were a group of rockers who gave the grunge bands of the early ’90s a run for their money. They were also proud lesbians who are credited as being one of the first “Queercore” bands, members of a genre that would help smash the prevailing homophobia within the American hardcore scene. Their impact can not be ignored, and their epic live shows, which typically featured lead singer Lynn Breedlove topless, will not be forgotten. (You can learn more about the band by watching the award-winning 2003 documentary \u003ci>Rise Above: A Tribe 8 Documentary.\u003c/i>)\u003c/p>\n\u003ch2>Spitboy\u003c/h2>\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/XXWBwl5liRc'\n title='//www.youtube.com/embed/XXWBwl5liRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the hardcore scene was obviously male-dominated, an even bigger boys’ club was the ’90s anarcho-punk scene that included groups like Aus Rotten and Disrupt and Resist. Spitboy were a shining light among the black clothing, butt flaps and face-jewelry, reminding the shower-hating members of the genre that women’s rights were just as important as destroying capitalism. As you can hear, their musical output (especially their split LP with Los Crudos) sounds just as powerful as it did back then.\u003c/p>\n\u003ch2>Frightwig\u003c/h2>\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/lVDaYzP5xpg'\n title='//www.youtube.com/embed/lVDaYzP5xpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We can’t write enough \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/fantasy-lineup-six-great-sf-bands-not-included-in-the-city-hall-centennial/\" target=\"_blank\" rel=\"noopener\">about the greatness of Frightwig\u003c/a>, who started back in the early ’80s and are still going strong today. They were Riot Grrrl before the scene existed, unabashedly feminist in a time when pop music was stating that “Girls Just Wanna To Have Fun” (\u003ca href=\"https://en.wikipedia.org/wiki/Girls_Just_Want_to_Have_Fun\" target=\"_blank\" rel=\"noopener\">a song written by a man\u003c/a>, by the way.) Their sound is impossible to categorize, ranging from dirge-y proto-grunge to no wave to straight-ahead punk, and releases such as \u003ci>Cat Farm Faboo\u003c/i> are must-haves for punk collectors. They’ve been playing out quite frequently in recent days with groups like Psychic TV and L7, and a recent performance backing \u003ca href=\"https://www.youtube.com/watch?v=0Sh3mMHL0wY\" target=\"_blank\" rel=\"noopener\">LA punk legend Alice Bag\u003c/a> shows they’re just as vicious live as they were decades ago.\u003c/p>\n\u003ch2>Trashwomen\u003c/h2>\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/ur_RUjhhhQ4'\n title='//www.youtube.com/embed/ur_RUjhhhQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the early ’90s, San Francisco became home of the re-emergence of lo-fi garage music, which would brand itself “Budget Rock.” Again, many of the bands attached to the scene were all dudes — the Mummies, the Rip Offs, the Phantom Surfers — but the Trashwomen put all the boys in their place with a blend of dirty surf and garage punk. Drummer Tina Lucchesi would go on to front bands like The Bobbyteens and Tina & the Total Babes, whose 2001 self-titled LP was a watermark in the neo-power pop scene, while shredding surf guitarist Elka Zolot had her young daughter, Natassia, make her singing debut on one of their records, “\u003ca href=\"https://www.youtube.com/watch?v=s2L1s6P5UCA\" target=\"_blank\" rel=\"noopener\">Boys Are Toys\u003c/a>.” Years later, Natassia would take the stage name Kreayshawn, and in 2011 she’d become a household name through the viral web hit “\u003ca href=\"https://www.youtube.com/watch?v=6WJFjXtHcy4\" target=\"_blank\" rel=\"noopener\">Gucci Gucci\u003c/a>.”\u003c/p>\n\u003ch2>Raooul\u003c/h2>\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/pznoc0nFcRA'\n title='//www.youtube.com/embed/pznoc0nFcRA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While labels like K and Kill Rock Stars capitalized on the Riot Grrl scene by signing up Northwestern groups like Bratmobile and Bikini Kill, Berkeley’s Lookout! Records had Raooul. One difference? The members were in their early teens, so they described their music as being “Jail Bait Core” (also the name of their singular release on Lookout, a split LP with London’s Skinned Teen.) They might not have had overly impressive musicianship, but they had spirit — and their snotty, immature lyrics are also pretty damn funny.\u003c/p>\n\u003ch2>Grass Widow\u003c/h2>\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/9Cveys2XSWM'\n title='//www.youtube.com/embed/9Cveys2XSWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The only band on this list that was founded after 9/11 — they started in 2007 — Grass Widow needed to be included on this list simply because they’re absolutely fantastic. Though they could easily be grouped with the tons of other retro post-punk groups that have occupied the indie rock scene for the past few years, their musicianship and needlework melodies should never be forgotten. They released plenty in the six years they were together, and all of it is worth picking up. And if you’re still jonesing for rocking-yet-pretty jams after you’ve gone through the entire Grass Widow catalog, I highly suggest checking out the rip-roaring shoegaze of Cold Beat, which features Grass Widow bassist Hannah Lew.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Back Away From the Beatbox: Ben Carson's Rap, and Other Cringeworthy Pitfalls Of Political Pandering",
"title": "Back Away From the Beatbox: Ben Carson's Rap, and Other Cringeworthy Pitfalls Of Political Pandering",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Some days, you wake up and the swirling black hole that is Mother Internet has nothing but bad news for you: Natural disasters, gun violence, \u003ca href=\"http://www.eonline.com/news/713073/blake-shelton-and-gwen-stefani-are-dating\" target=\"_blank\" rel=\"noopener noreferrer\">confirmation of the unholy sexual union between Gwen Stefani and Blake Shelton.\u003c/a>\u003c/p>\n\u003cp>And some days, presidential hopeful Ben Carson's campaign team releases a minute-long rap song about Ben Carson.\u003c/p>\n\u003cp>\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/231659314&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\">\u003c/iframe>\u003c/p>\n\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\">\u003ca href=\"https://soundcloud.com/abcpolitics\" title=\"ABC Politics\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">ABC Politics\u003c/a> · \u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" title=\"Ben Carson Radio Ad\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">Ben Carson Radio Ad\u003c/a>\u003c/div>\n\u003cp>\u003ca href=\"http://abcnews.go.com/Politics/listen-ben-carsons-rap-ad-aimed-african-american/story?id=34988082\" target=\"_blank\" rel=\"noopener noreferrer\">According to ABC News\u003c/a>, the Carson campaign spent $150,000 for the ditty -- which is called \"Freedom\" -- to air as a radio ad for two weeks on \"urban\" stations in Miami; Atlanta; Houston; Detroit; Memphis; Birmingham, Alabama; Jackson, Mississippi; and Little Rock, Arkansas.\u003c/p>\n\u003cp>The rapper urging young hip-hop radio listeners to \"vote\" (and, upsettingly, to rhyme \"Carson\" with \"awesome\") over a flute riff and in between clips of Carson's stump speech is a guy by the name of\u003ca href=\"http://aspiringmogul.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Aspiring Mogul.\u003c/a> The MC's website indicates that he's a youth minister and young black Republican, as well as an \"original unique force within the GOP, one whom God has gifted on multiple levels of communication and political leadership.\" \u003ca href=\"https://www.facebook.com/ASPIRINGMOGUL1/\" target=\"_blank\" rel=\"noopener noreferrer\">His hometown is #INTERNATIONAL. \u003c/a>But nevermind Aspiring Mogul. Aspiring Mogul: This is not your fault.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Setting aside the hilarity specific to this situation -- \"I know, let's take a candidate whose predominant idiosyncrasy is that his speaking style \u003ca href=\"http://www.slate.com/articles/news_and_politics/video/2015/10/ben_carson_is_calm_at_gop_debates_he_also_closes_his_eyes_when_he_speaks.html\" target=\"_blank\" rel=\"noopener noreferrer\">seems like he might be falling asleep \u003c/a>and \u003cem>use his speech to make a rap song\"\u003c/em> -- this is really just the latest in a long line of politicians who are neither hip nor young attempting to pander to hip young #Millennial voters and instead mainly succeeding in making us all want to stuff cotton in our ears and hide beneath our desks for the rest of the day in embarrassment. And under that vast umbrella of pandering: \u003cem>Mega\u003c/em>-pandering to young minority voters via allusions to and/or attempted uses of hip-hop that most likely made Tupac roll over in his grave.\u003c/p>\n\u003cp>Let's take a stroll down memory lane, shall we?\u003c/p>\n\u003cp>Our first stop is an inexplicable rap song about Newt Gingrich that played during a Gingrich campaign stop in Florida over the course of his 2012 presidential run. (And henceforth, everyone thought of Newt Gingrich as a super-cool, urban -- wait, nevermind.)\u003c/p>\n\u003cp>Sample lyric: \"N to the E to the WT/Newt Gingrich taking over these streets/Is you ready for it yet?/I don't think so, where you at?\u003cbr>\nObama 'bout to step out the White House/Gingrich gonna get in the White House/He gon' have his wife, his spouse/Yeah, you know without a doubt.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oKeKY8B0scg\u003c/p>\n\u003cp>Here's former Bush II Advisor Karl Rove, transforming into \"MC Rove\" at the 2007 Radio and Television Correspondents' Association Dinner. Dare you to make it through the whole video!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ln5RD9BhcCo\u003c/p>\n\u003cp>Here's Mitt Romney referencing a then-12-year-old novelty rap song on a campaign stop in 2012 for no apparent reason (other than that he's meeting young black people?).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FDwwAaVmnf4\u003c/p>\n\u003cp>Hillary is no stranger to young people-pandering, of course -- especially in this election cycle, which finds her on a desperate quest to prove that\u003ca href=\"http://www.theonion.com/blogpost/i-am-fun-51731\" target=\"_blank\" rel=\"noopener noreferrer\"> she's not literally made out of wood\u003c/a>. Thus far her tactics include associations with hip young persons \u003ca href=\"https://instagram.com/p/9PO1JrEPjI/?taken-by=hillaryclinton\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry\u003c/a> and \u003ca href=\"http://www.politico.com/story/2015/09/hillary-clinton-lena-dunham-interview-213990\" target=\"_blank\" rel=\"noopener noreferrer\">Lena Dunham\u003c/a>. And yet: this \"whip/nae nae\" attempt from \u003cem>Ellen\u003c/em> a few weeks ago is the one that really sends us scrambling for cover.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ppgk9Mj1n88\u003c/p>\n\u003cp>Back to 2008: If someone hasn't looped John McCain saying \"Thank you, Daddy Yankee\" and used it on their own song yet I will eat my hat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F0fbU1VGvS0\u003c/p>\n\u003cp>And last but certainly not least: This clip of Jeb Bush helping Jimmy Fallon out with a \"Slow Jam the News\" segment isn't technically hip-hop, to be sure -- but it more than makes up for that when it comes to making us want to gouge our eyes out rather than having to look at a politician's meaty, vacant face in the background while Fallon makes sex jokes!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5GMhGpk5jY\u003c/p>\n\u003cp>So, what have we learned here today?\u003c/p>\n\u003cp>Yes, President Obama has managed to make hip-hop references and still come off cool.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzXcNgCr0nk\u003c/p>\n\u003cp>Obama is Obama. \u003ca href=\"http://politicalticker.blogs.cnn.com/2013/07/11/jay-z-says-he-texts-with-obama/\" target=\"_blank\" rel=\"noopener noreferrer\">He is actually friends with Jay Z\u003c/a>.\u003c/p>\n\u003cp>Everyone else? Might want to actually, you know, work on coming up with stances that young people can objectively weigh against your competitors' stances, for the purpose of deciding which policies would, if enacted, fall in line most closely with our own goals, beliefs and values. Imagine for a second that we're still people -- simply\u003cem> people who were born later than you.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime: brb, hitting play on that\u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" target=\"_blank\" rel=\"noopener noreferrer\"> Carson song again\u003c/a>. It doesn't sound like the candidate will be\u003ca href=\"http://thinkprogress.org/politics/2015/11/05/3719643/ben-carson-explains-rap-ad/\" target=\"_blank\" rel=\"noopener noreferrer\"> responsible for racking up any listens himself.\u003c/a>\u003c/p>\n\n",
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"excerpt": "In which an super-cool new \"urban\" song about the Republican candidate harkens back to a longstanding tradition of severe second-hand embarrassment.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some days, you wake up and the swirling black hole that is Mother Internet has nothing but bad news for you: Natural disasters, gun violence, \u003ca href=\"http://www.eonline.com/news/713073/blake-shelton-and-gwen-stefani-are-dating\" target=\"_blank\" rel=\"noopener noreferrer\">confirmation of the unholy sexual union between Gwen Stefani and Blake Shelton.\u003c/a>\u003c/p>\n\u003cp>And some days, presidential hopeful Ben Carson's campaign team releases a minute-long rap song about Ben Carson.\u003c/p>\n\u003cp>\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/231659314&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\">\u003c/iframe>\u003c/p>\n\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\">\u003ca href=\"https://soundcloud.com/abcpolitics\" title=\"ABC Politics\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">ABC Politics\u003c/a> · \u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" title=\"Ben Carson Radio Ad\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">Ben Carson Radio Ad\u003c/a>\u003c/div>\n\u003cp>\u003ca href=\"http://abcnews.go.com/Politics/listen-ben-carsons-rap-ad-aimed-african-american/story?id=34988082\" target=\"_blank\" rel=\"noopener noreferrer\">According to ABC News\u003c/a>, the Carson campaign spent $150,000 for the ditty -- which is called \"Freedom\" -- to air as a radio ad for two weeks on \"urban\" stations in Miami; Atlanta; Houston; Detroit; Memphis; Birmingham, Alabama; Jackson, Mississippi; and Little Rock, Arkansas.\u003c/p>\n\u003cp>The rapper urging young hip-hop radio listeners to \"vote\" (and, upsettingly, to rhyme \"Carson\" with \"awesome\") over a flute riff and in between clips of Carson's stump speech is a guy by the name of\u003ca href=\"http://aspiringmogul.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Aspiring Mogul.\u003c/a> The MC's website indicates that he's a youth minister and young black Republican, as well as an \"original unique force within the GOP, one whom God has gifted on multiple levels of communication and political leadership.\" \u003ca href=\"https://www.facebook.com/ASPIRINGMOGUL1/\" target=\"_blank\" rel=\"noopener noreferrer\">His hometown is #INTERNATIONAL. \u003c/a>But nevermind Aspiring Mogul. Aspiring Mogul: This is not your fault.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Setting aside the hilarity specific to this situation -- \"I know, let's take a candidate whose predominant idiosyncrasy is that his speaking style \u003ca href=\"http://www.slate.com/articles/news_and_politics/video/2015/10/ben_carson_is_calm_at_gop_debates_he_also_closes_his_eyes_when_he_speaks.html\" target=\"_blank\" rel=\"noopener noreferrer\">seems like he might be falling asleep \u003c/a>and \u003cem>use his speech to make a rap song\"\u003c/em> -- this is really just the latest in a long line of politicians who are neither hip nor young attempting to pander to hip young #Millennial voters and instead mainly succeeding in making us all want to stuff cotton in our ears and hide beneath our desks for the rest of the day in embarrassment. And under that vast umbrella of pandering: \u003cem>Mega\u003c/em>-pandering to young minority voters via allusions to and/or attempted uses of hip-hop that most likely made Tupac roll over in his grave.\u003c/p>\n\u003cp>Let's take a stroll down memory lane, shall we?\u003c/p>\n\u003cp>Our first stop is an inexplicable rap song about Newt Gingrich that played during a Gingrich campaign stop in Florida over the course of his 2012 presidential run. (And henceforth, everyone thought of Newt Gingrich as a super-cool, urban -- wait, nevermind.)\u003c/p>\n\u003cp>Sample lyric: \"N to the E to the WT/Newt Gingrich taking over these streets/Is you ready for it yet?/I don't think so, where you at?\u003cbr>\nObama 'bout to step out the White House/Gingrich gonna get in the White House/He gon' have his wife, his spouse/Yeah, you know without a doubt.\"\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/oKeKY8B0scg'\n title='//www.youtube.com/embed/oKeKY8B0scg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's former Bush II Advisor Karl Rove, transforming into \"MC Rove\" at the 2007 Radio and Television Correspondents' Association Dinner. Dare you to make it through the whole video!\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/Ln5RD9BhcCo'\n title='//www.youtube.com/embed/Ln5RD9BhcCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's Mitt Romney referencing a then-12-year-old novelty rap song on a campaign stop in 2012 for no apparent reason (other than that he's meeting young black people?).\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/FDwwAaVmnf4'\n title='//www.youtube.com/embed/FDwwAaVmnf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hillary is no stranger to young people-pandering, of course -- especially in this election cycle, which finds her on a desperate quest to prove that\u003ca href=\"http://www.theonion.com/blogpost/i-am-fun-51731\" target=\"_blank\" rel=\"noopener noreferrer\"> she's not literally made out of wood\u003c/a>. Thus far her tactics include associations with hip young persons \u003ca href=\"https://instagram.com/p/9PO1JrEPjI/?taken-by=hillaryclinton\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry\u003c/a> and \u003ca href=\"http://www.politico.com/story/2015/09/hillary-clinton-lena-dunham-interview-213990\" target=\"_blank\" rel=\"noopener noreferrer\">Lena Dunham\u003c/a>. And yet: this \"whip/nae nae\" attempt from \u003cem>Ellen\u003c/em> a few weeks ago is the one that really sends us scrambling for cover.\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/ppgk9Mj1n88'\n title='//www.youtube.com/embed/ppgk9Mj1n88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back to 2008: If someone hasn't looped John McCain saying \"Thank you, Daddy Yankee\" and used it on their own song yet I will eat my hat.\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/F0fbU1VGvS0'\n title='//www.youtube.com/embed/F0fbU1VGvS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And last but certainly not least: This clip of Jeb Bush helping Jimmy Fallon out with a \"Slow Jam the News\" segment isn't technically hip-hop, to be sure -- but it more than makes up for that when it comes to making us want to gouge our eyes out rather than having to look at a politician's meaty, vacant face in the background while Fallon makes sex jokes!\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/i5GMhGpk5jY'\n title='//www.youtube.com/embed/i5GMhGpk5jY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So, what have we learned here today?\u003c/p>\n\u003cp>Yes, President Obama has managed to make hip-hop references and still come off cool.\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/kzXcNgCr0nk'\n title='//www.youtube.com/embed/kzXcNgCr0nk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Obama is Obama. \u003ca href=\"http://politicalticker.blogs.cnn.com/2013/07/11/jay-z-says-he-texts-with-obama/\" target=\"_blank\" rel=\"noopener noreferrer\">He is actually friends with Jay Z\u003c/a>.\u003c/p>\n\u003cp>Everyone else? Might want to actually, you know, work on coming up with stances that young people can objectively weigh against your competitors' stances, for the purpose of deciding which policies would, if enacted, fall in line most closely with our own goals, beliefs and values. Imagine for a second that we're still people -- simply\u003cem> people who were born later than you.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime: brb, hitting play on that\u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" target=\"_blank\" rel=\"noopener noreferrer\"> Carson song again\u003c/a>. It doesn't sound like the candidate will be\u003ca href=\"http://thinkprogress.org/politics/2015/11/05/3719643/ben-carson-explains-rap-ad/\" target=\"_blank\" rel=\"noopener noreferrer\"> responsible for racking up any listens himself.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "from-compton-to-clarinets-this-weeks-best-live-music",
"title": "From Compton to Clarinets, This Week's Top Live Music Picks",
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"headTitle": "From Compton to Clarinets, This Week’s Top Live Music Picks | KQED",
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"content": "\u003cp>Fall weather is officially here, and let’s be real: This whole sky-gets-dark-at-5:30 stuff seems to provoke more staying home and sipping hot chocolate than going out. But are you really going to let so much great live music pass you by? No, you are not.\u003c/p>\n\u003cp>Here are our top picks for Bay Area music this week.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: The Last King of England with Rags at Sgraffito Gallery\u003c/strong>. Sacha Alessandro Marcello Berardinelli Galvagna may possess five names, but his vision is a singular one: on his latest album, recorded under the moniker the Last King of England, he conjures a dreamy, hazy world of swirling electronics and a low baritone, not unlike Canadian duo Majical Cloudz. Fans of Joy Division who’ve maybe gotten a little older and less jittery, take note. Christina Stanley and Rags open the show. \u003ca href=\"https://www.facebook.com/events/423781067819093/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057863\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057863\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg\" alt=\"Lila Downs.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lila Downs. \u003ccite>(Elena Pardo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Lila Downs at Davies Symphony Hall\u003c/strong>. Lila Downs is an Oaxacan-born singer of Mexican rancheros and a spirited carrier of the Mesoamerican tradition; every time I hear her gorgeously sing “\u003ca href=\"https://www.youtube.com/watch?v=hUdFlisd7cU\" target=\"_blank\" rel=\"noopener\">Penas del Alma\u003c/a>,” my skin tingles. Raised in America by a Scottish-American father, Downs sung jazz in Philadelphia and, for a few years, actually followed the Grateful Dead around the country. Now, of course, she’s distanced herself from those days, and her live shows attract a joyful, varied crowd — the last time I saw her, the aisles flooded with dancing by the show’s end. At Davies, she performs three shows in one day (at 11am, 2pm and 8pm) in honor of Dia de los Muertos. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Cappella SF at Mission Dolores\u003c/strong>. Ragnar Bohlin, Artistic Director of the San Francisco Symphony Chorus, debuted Cappella SF earlier this year with a mission of exploring the wide breadth of the choral repertoire — medieval to modern, secular to sacred. Now, Bohlin’s exploring another mission: healing the environment. In a program titled ‘Songs for the Earth: Music and Reflections on Protecting Nature,’ the choir sings pieces inspired by nature (by Ralph Vaughan Williams, Veljo Tormis, Claudio Monteverdi and others) alongside spoken-word reflections inside Mission Dolores’ nearly 100-year-old basilica. The evening is a partnership with Food & Water Watch. \u003ca href=\"https://www.eventbrite.com/e/songs-for-the-earth-music-and-reflections-on-protecting-nature-tickets-18713669088\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7 – Monday, Nov. 9: ‘Surround Sound’ at the Santa Rosa Symphony\u003c/strong>. Escaping the confines of the stage is usually the province of noise-rock acts like Lightning Bolt, overzealous stagediving rappers like Tyler, the Creator, or award-show special-effects stars like Pink. A symphony orchestra rarely gets the thrill. In their performance of György Kurtág’s Quasi una Fantasia, members of the Santa Rosa Symphony dispatch themselves around the main hall of the Green Music Center, surrounding the audience (and pianist Pedja Muzijevic) in a live replication of the Quadraphonic LP era. Schumann’s Piano Concerto and Brahms’ Symphony No. 1 round out the program. \u003ca href=\"http://santarosasymphony.com/EventDetail/15\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg\" alt=\"Kendrick Lamar.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 10: Kendrick Lamar at the Fox Theater\u003c/strong>. There I sat, in the Detroit airport on spotty wi-fi, refreshing the ticket page over and over again as I felt my hopes drain out of me… and I wasn’t alone. Ticket demand for this relatively intimate show with Kendrick Lamar crashed servers and crushed dreams, which is why you’re looking at almost $200 for floor seats on Stubhub. Lamar — raised in Compton and mentored by that city’s biggest success story, Dr. Dre — rides into Oakland on a wave of increasing impact from this year’s sprawling album \u003cem>To Pimp a Butterfly\u003c/em>, and in this mini-tour he focuses on the album’s cuts with a live backing band. The show’s sold out, but we list it here because it may just be worth the headaches of the secondhand market. \u003ca href=\"http://www.ticketmaster.com/event/1C004F35ED2F4499\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 12: ‘Celebrating the Clarinet’ at Grace Cathedral\u003c/strong>. Clarinetist Don Byron has performed a wide range of music — including that of \u003ca href=\"http://www.amazon.com/Ivey-Divey-Don-Byron/dp/B0002UY8W4\" target=\"_blank\" rel=\"noopener\">Lester Young’s trio\u003c/a> with Nat “King” Cole, the \u003ca href=\"http://www.amazon.com/Bug-Music-Quintette-Orchestra-Ellington/dp/B000002I2Z/ref=pd_sim_15_1?ie=UTF8&dpID=41HmjQHZiwL&dpSrc=sims&preST=_AC_UL160_SR160%2C160_&refRID=048DX84THDHAFFNKBFC0\" target=\"_blank\" rel=\"noopener\">cartoon music\u003c/a> of electronic pioneer Raymond Scott, and even \u003ca href=\"https://www.youtube.com/watch?v=QLtqsKuwEXU\" target=\"_blank\" rel=\"noopener\">hip-hop court jester Biz Markie\u003c/a>. Now, he rounds out an all-star lineup at Grace Cathedral focusing on the clarinet, a horn less embraced in jazz than, say, the saxophone or trumpet. Taking advantage of the church’s natural acoustic delay, Byron is joined by Anat Cohen, Todd Marcus and David Murray in what’s sure to be an adventurous program. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1108/sacred-space\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall weather is officially here, and let’s be real: This whole sky-gets-dark-at-5:30 stuff seems to provoke more staying home and sipping hot chocolate than going out. But are you really going to let so much great live music pass you by? No, you are not.\u003c/p>\n\u003cp>Here are our top picks for Bay Area music this week.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: The Last King of England with Rags at Sgraffito Gallery\u003c/strong>. Sacha Alessandro Marcello Berardinelli Galvagna may possess five names, but his vision is a singular one: on his latest album, recorded under the moniker the Last King of England, he conjures a dreamy, hazy world of swirling electronics and a low baritone, not unlike Canadian duo Majical Cloudz. Fans of Joy Division who’ve maybe gotten a little older and less jittery, take note. Christina Stanley and Rags open the show. \u003ca href=\"https://www.facebook.com/events/423781067819093/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057863\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057863\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg\" alt=\"Lila Downs.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lila Downs. \u003ccite>(Elena Pardo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Lila Downs at Davies Symphony Hall\u003c/strong>. Lila Downs is an Oaxacan-born singer of Mexican rancheros and a spirited carrier of the Mesoamerican tradition; every time I hear her gorgeously sing “\u003ca href=\"https://www.youtube.com/watch?v=hUdFlisd7cU\" target=\"_blank\" rel=\"noopener\">Penas del Alma\u003c/a>,” my skin tingles. Raised in America by a Scottish-American father, Downs sung jazz in Philadelphia and, for a few years, actually followed the Grateful Dead around the country. Now, of course, she’s distanced herself from those days, and her live shows attract a joyful, varied crowd — the last time I saw her, the aisles flooded with dancing by the show’s end. At Davies, she performs three shows in one day (at 11am, 2pm and 8pm) in honor of Dia de los Muertos. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Cappella SF at Mission Dolores\u003c/strong>. Ragnar Bohlin, Artistic Director of the San Francisco Symphony Chorus, debuted Cappella SF earlier this year with a mission of exploring the wide breadth of the choral repertoire — medieval to modern, secular to sacred. Now, Bohlin’s exploring another mission: healing the environment. In a program titled ‘Songs for the Earth: Music and Reflections on Protecting Nature,’ the choir sings pieces inspired by nature (by Ralph Vaughan Williams, Veljo Tormis, Claudio Monteverdi and others) alongside spoken-word reflections inside Mission Dolores’ nearly 100-year-old basilica. The evening is a partnership with Food & Water Watch. \u003ca href=\"https://www.eventbrite.com/e/songs-for-the-earth-music-and-reflections-on-protecting-nature-tickets-18713669088\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7 – Monday, Nov. 9: ‘Surround Sound’ at the Santa Rosa Symphony\u003c/strong>. Escaping the confines of the stage is usually the province of noise-rock acts like Lightning Bolt, overzealous stagediving rappers like Tyler, the Creator, or award-show special-effects stars like Pink. A symphony orchestra rarely gets the thrill. In their performance of György Kurtág’s Quasi una Fantasia, members of the Santa Rosa Symphony dispatch themselves around the main hall of the Green Music Center, surrounding the audience (and pianist Pedja Muzijevic) in a live replication of the Quadraphonic LP era. Schumann’s Piano Concerto and Brahms’ Symphony No. 1 round out the program. \u003ca href=\"http://santarosasymphony.com/EventDetail/15\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg\" alt=\"Kendrick Lamar.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 10: Kendrick Lamar at the Fox Theater\u003c/strong>. There I sat, in the Detroit airport on spotty wi-fi, refreshing the ticket page over and over again as I felt my hopes drain out of me… and I wasn’t alone. Ticket demand for this relatively intimate show with Kendrick Lamar crashed servers and crushed dreams, which is why you’re looking at almost $200 for floor seats on Stubhub. Lamar — raised in Compton and mentored by that city’s biggest success story, Dr. Dre — rides into Oakland on a wave of increasing impact from this year’s sprawling album \u003cem>To Pimp a Butterfly\u003c/em>, and in this mini-tour he focuses on the album’s cuts with a live backing band. The show’s sold out, but we list it here because it may just be worth the headaches of the secondhand market. \u003ca href=\"http://www.ticketmaster.com/event/1C004F35ED2F4499\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 12: ‘Celebrating the Clarinet’ at Grace Cathedral\u003c/strong>. Clarinetist Don Byron has performed a wide range of music — including that of \u003ca href=\"http://www.amazon.com/Ivey-Divey-Don-Byron/dp/B0002UY8W4\" target=\"_blank\" rel=\"noopener\">Lester Young’s trio\u003c/a> with Nat “King” Cole, the \u003ca href=\"http://www.amazon.com/Bug-Music-Quintette-Orchestra-Ellington/dp/B000002I2Z/ref=pd_sim_15_1?ie=UTF8&dpID=41HmjQHZiwL&dpSrc=sims&preST=_AC_UL160_SR160%2C160_&refRID=048DX84THDHAFFNKBFC0\" target=\"_blank\" rel=\"noopener\">cartoon music\u003c/a> of electronic pioneer Raymond Scott, and even \u003ca href=\"https://www.youtube.com/watch?v=QLtqsKuwEXU\" target=\"_blank\" rel=\"noopener\">hip-hop court jester Biz Markie\u003c/a>. Now, he rounds out an all-star lineup at Grace Cathedral focusing on the clarinet, a horn less embraced in jazz than, say, the saxophone or trumpet. Taking advantage of the church’s natural acoustic delay, Byron is joined by Anat Cohen, Todd Marcus and David Murray in what’s sure to be an adventurous program. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1108/sacred-space\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland's \u003ca href=\"https://www.facebook.com/Shannon-and-the-Clams-134248713268350/?fref=ts\" target=\"_blank\">Shannon and the Clams\u003c/a> have dealt in danceable, beachy garage-rock and soulful doo-wop for the past half decade. But the trio's most recent record, \u003cem>Gone By The Dawn \u003c/em>(Hardly Art), is shot through with a dose of longing that's plainly audible beneath the standard irreverent, reverb-soaked guitar lines. (Both bassist-vocalist Shannon Shaw and guitarist Cody Blanchard \u003ca href=\"http://noisey.vice.com/blog/gone-by-the-dawn-shannon-and-the-clams\" target=\"_blank\">went through rough breakups while writing the album\u003c/a>, so, you know -- makes sense.)\u003c/p>\n\u003cp>\"Darlin’ it’s too late/to make it right/I had my chance/but I didn’t try,\" wails Blanchard in \"It's Too Late\" -- the new video for which you should go ahead and watch below. Cautionary tale about wandering off in the woods -- or admittedly weird beginning of a beautiful friendship? You be the judge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJalyeHLzjg\u003c/p>\n\u003cp>The Clams are currently en route to Europe for a few weeks before returning home to the Bay; they'll cap off a big year with \u003ca href=\"https://www.eventbrite.com/e/sonny-and-the-sunsets-shannon-and-the-clams-gamh-tickets-18962172368\" target=\"_blank\">a two-night stint at the Great American Music Hall on Dec. 30 and 31\u003c/a>, sharing a bill with fellow local faves Sonny and the Sunsets.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland's \u003ca href=\"https://www.facebook.com/Shannon-and-the-Clams-134248713268350/?fref=ts\" target=\"_blank\">Shannon and the Clams\u003c/a> have dealt in danceable, beachy garage-rock and soulful doo-wop for the past half decade. But the trio's most recent record, \u003cem>Gone By The Dawn \u003c/em>(Hardly Art), is shot through with a dose of longing that's plainly audible beneath the standard irreverent, reverb-soaked guitar lines. (Both bassist-vocalist Shannon Shaw and guitarist Cody Blanchard \u003ca href=\"http://noisey.vice.com/blog/gone-by-the-dawn-shannon-and-the-clams\" target=\"_blank\">went through rough breakups while writing the album\u003c/a>, so, you know -- makes sense.)\u003c/p>\n\u003cp>\"Darlin’ it’s too late/to make it right/I had my chance/but I didn’t try,\" wails Blanchard in \"It's Too Late\" -- the new video for which you should go ahead and watch below. Cautionary tale about wandering off in the woods -- or admittedly weird beginning of a beautiful friendship? You be the judge.\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/cJalyeHLzjg'\n title='//www.youtube.com/embed/cJalyeHLzjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Clams are currently en route to Europe for a few weeks before returning home to the Bay; they'll cap off a big year with \u003ca href=\"https://www.eventbrite.com/e/sonny-and-the-sunsets-shannon-and-the-clams-gamh-tickets-18962172368\" target=\"_blank\">a two-night stint at the Great American Music Hall on Dec. 30 and 31\u003c/a>, sharing a bill with fellow local faves Sonny and the Sunsets.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Okay, let’s get this out of the way: The most important thing to do today costs absolutely nothing, and is really, really vital if you’re a San Francisco resident. \u003ca href=\"http://sfelections.org/tools/pollsite/\" target=\"_blank\" rel=\"noopener\">Vote! \u003c/a>Many polling places are open until 8 p.m., so you really don’t have an excuse.\u003c/p>\n\u003cp>Now that you’ve done that, here’s a hefty handful of events all over the Bay at which you can celebrate your civic duty — or just have a good time — for $20 or under. Without further ado, here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\">Hippy Mobb: A-Plus & Knowbody (Grow Theory), Equipto & Otayo Dubb at the New Parish, Oakland. \u003c/a>\u003c/strong>SF rapper Equipto made headlines recently for approaching Mayor Ed Lee in a diner with some none-too-sugarcoated opinions about the politician’s track record with working- and middle-class folks over the past few years. But his crew, Hippy Mobb, has been on the lips of those in the know for more than two decades. A-Plus brings cred from a different beloved crew, the Souls of Mischief/Hieroglyphics family of East Bay MCs and beat-makers. This is a low-key hometown hip-hop celebration.\u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\"> $8 – $12; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Vetiver at Sweetwater Music Hall, Mill Valley. \u003c/a>\u003c/strong>The brainchild and ever-evolving musical output of singer-songwriter-musician-producer Andy Cabic, Vetiver’s one of those San Francisco bands that will never put on the same show twice, so you can plan on not being bored, to say the least. \u003cem>Complete Strangers\u003c/em>, Cabic’s latest record, skips from melancholy indie-folk to tropicalia to power pop. As he wrote when announcing the album: “It feels like someone I’ve just met yet known for a long time.” \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">$20; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 6: \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">\u003cem>First Friday\u003c/em> at the New Parkway, Oakland. \u003c/a>“\u003c/strong>In the same year, Oakland was rated one of the top five destinations in the world and one of the top five most dangerous cities in the country. On Feb. 1, 2013 those two realities met with the fatal shooting of a teenager during First Friday, a monthly arts festival that has become the symbol of the city’s economic and cultural revival. \u003cem>First Friday\u003c/em> follows a diverse group of residents as they work to preserve the event that represents a city’s attempt to transform itself.” A Q&A with filmmakers N’Jeri Eaton and Mario Furloni will follow. \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">$10; details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Real Future Fair, SF. \u003c/a>\u003c/strong>This weekend-long festival brings together some of the most visionary minds in science and technology, talking about where the next century is poised to take us. Tickets to many sessions are on the pricey-end, but this day-long event is free, family-friendly and open to the public. Featured events include drone demonstrations by the Aerial Sports League, a robot petting zoo, the Oddball Failed Futures Film Festival, and presentations by Dorkbot, the Bay Area Video Coalition and The Long Now. \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">Dirty Ghosts, Useless Eaters and Kelley Stoltz at Brick and Mortar Music Hall, SF. \u003c/a>\u003c/strong>It’s been a while since we’ve seen Allyson Baker, the magnetic frontwoman at the helm of SF’s Dirty Ghosts, take over a stage — but it’s usually worth the wait. This is a solid night of rusty punk-tinged indie rock in an intimate venue, celebrating the release of new records before the Ghosts and SF mainstay Stoltz head to Europe to tour. \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">$10 – $14; details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 10:\u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\"> Adrian Tomine in conversation with Vendela Vida at Booksmith, SF.\u003c/a> \u003c/strong>The Bay Area-bred graphic novelist who’s been compared to short story master Raymond Carver is back with a typically emotionally loaded new book, \u003cem>Killing and Dying, \u003c/em>full of the dark humor and quiet moments he’s known so well for capturing in comic book form. Catch him in conversation with SF superstar novelist Vendela Vida. \u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Are you throwing a thing that’s $20 or under? Should I know about it? Email me at \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Okay, let’s get this out of the way: The most important thing to do today costs absolutely nothing, and is really, really vital if you’re a San Francisco resident. \u003ca href=\"http://sfelections.org/tools/pollsite/\" target=\"_blank\" rel=\"noopener\">Vote! \u003c/a>Many polling places are open until 8 p.m., so you really don’t have an excuse.\u003c/p>\n\u003cp>Now that you’ve done that, here’s a hefty handful of events all over the Bay at which you can celebrate your civic duty — or just have a good time — for $20 or under. Without further ado, here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\">Hippy Mobb: A-Plus & Knowbody (Grow Theory), Equipto & Otayo Dubb at the New Parish, Oakland. \u003c/a>\u003c/strong>SF rapper Equipto made headlines recently for approaching Mayor Ed Lee in a diner with some none-too-sugarcoated opinions about the politician’s track record with working- and middle-class folks over the past few years. But his crew, Hippy Mobb, has been on the lips of those in the know for more than two decades. A-Plus brings cred from a different beloved crew, the Souls of Mischief/Hieroglyphics family of East Bay MCs and beat-makers. This is a low-key hometown hip-hop celebration.\u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\"> $8 – $12; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Vetiver at Sweetwater Music Hall, Mill Valley. \u003c/a>\u003c/strong>The brainchild and ever-evolving musical output of singer-songwriter-musician-producer Andy Cabic, Vetiver’s one of those San Francisco bands that will never put on the same show twice, so you can plan on not being bored, to say the least. \u003cem>Complete Strangers\u003c/em>, Cabic’s latest record, skips from melancholy indie-folk to tropicalia to power pop. As he wrote when announcing the album: “It feels like someone I’ve just met yet known for a long time.” \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">$20; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 6: \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">\u003cem>First Friday\u003c/em> at the New Parkway, Oakland. \u003c/a>“\u003c/strong>In the same year, Oakland was rated one of the top five destinations in the world and one of the top five most dangerous cities in the country. On Feb. 1, 2013 those two realities met with the fatal shooting of a teenager during First Friday, a monthly arts festival that has become the symbol of the city’s economic and cultural revival. \u003cem>First Friday\u003c/em> follows a diverse group of residents as they work to preserve the event that represents a city’s attempt to transform itself.” A Q&A with filmmakers N’Jeri Eaton and Mario Furloni will follow. \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">$10; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Real Future Fair, SF. \u003c/a>\u003c/strong>This weekend-long festival brings together some of the most visionary minds in science and technology, talking about where the next century is poised to take us. Tickets to many sessions are on the pricey-end, but this day-long event is free, family-friendly and open to the public. Featured events include drone demonstrations by the Aerial Sports League, a robot petting zoo, the Oddball Failed Futures Film Festival, and presentations by Dorkbot, the Bay Area Video Coalition and The Long Now. \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">Dirty Ghosts, Useless Eaters and Kelley Stoltz at Brick and Mortar Music Hall, SF. \u003c/a>\u003c/strong>It’s been a while since we’ve seen Allyson Baker, the magnetic frontwoman at the helm of SF’s Dirty Ghosts, take over a stage — but it’s usually worth the wait. This is a solid night of rusty punk-tinged indie rock in an intimate venue, celebrating the release of new records before the Ghosts and SF mainstay Stoltz head to Europe to tour. \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">$10 – $14; details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 10:\u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\"> Adrian Tomine in conversation with Vendela Vida at Booksmith, SF.\u003c/a> \u003c/strong>The Bay Area-bred graphic novelist who’s been compared to short story master Raymond Carver is back with a typically emotionally loaded new book, \u003cem>Killing and Dying, \u003c/em>full of the dark humor and quiet moments he’s known so well for capturing in comic book form. Catch him in conversation with SF superstar novelist Vendela Vida. \u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Are you throwing a thing that’s $20 or under? Should I know about it? Email me at \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Election 2015: How Props I and F Would Impact the Arts",
"headTitle": "Election 2015: How Props I and F Would Impact the Arts | KQED",
"content": "\u003cp>On this year’s ballot, two propositions in San Francisco — Propositions I and F — have come to represent the city’s well-publicized tension between its growing tech-worker population and its long-established artistic class.\u003c/p>\n\u003cp>In one case, a fast-growing tech company has spent over $8 million to stop a proposition that would increase regulations on its services, which data shows have contributed to the city’s housing shortage and mass exodus of longtime residents. In the other, the passage of a proposition would mean that a new 4,000-capacity dance hall would be unable to open for three years, but it would also mean that a small-but-beloved music venue would get to stay open for a good while longer.\u003c/p>\n\u003cp>\u003ci>For more information on these propositions, and other measures on this year’s ballot, see KQED News’ \u003ca href=\"http://ww2.kqed.org/news/tag/2015-election\" target=\"_blank\" rel=\"noopener\">November 2015 Election Guide\u003c/a>)\u003c/i>\u003c/p>\n\u003ch2>Proposition I\u003c/h2>\n\u003cp>Prop. I’s main intent is to institute a moratorium on luxury housing in the city’s Mission District; it would block construction of any new residential buildings with five or more units, possibly for two years. But the proposition would also halt new “business development projects,” including the opening of Drill Court, a larger event space inside Kink.com’s Armory on 14th and Mission. If the proposition passes, Kink.com would be unable to convert the currently part-time space into a full-time music venue, thereby rendering it \u003ca href=\"http://sfist.com/2015/09/29/mission_moratorium_would_kill_plans.php\" target=\"_blank\" rel=\"noopener\">financially impossible to run\u003c/a>.\u003c/p>\n\u003cp>On the other hand, Prop. I would save the Elbo Room from being turned into a five-story condo development for at least 18 months. When the cherished venue announced that its owners planned to shut down the club, late last year, local residents quickly \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">came together to block the conversion\u003c/a>. When the owners’ plans were approved, it looked like the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room was doomed\u003c/a>. Delays with the project led building owners Dennis and Susan Ring to allow the Elbo Room to stay open through the end of the year, however, and to operate on a month-to-month lease through 2016. If Prop I passes, the Elbo Room would be allowed to operate into at least 2017.\u003c/p>\n\u003ch2>Proposition F\u003c/h2>\n\u003cp>The biggest issue affecting artists in San Francisco is housing: a recent survey conducted by the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission \u003c/a>found that out of 600 respondents, 70 percent had lost or were in the process of losing their workspaces or homes. A contributor to this housing shortage is Airbnb, the online service that allows local residents to utilize empty rooms as short-term rentals. But the system is being abused in San Francisco: according to \u003ca href=\"http://insideairbnb.com/san-francisco/#\" target=\"_blank\" rel=\"noopener\">InsideAirbnb\u003c/a>, which monitors the site’s data, almost 60 percent of Airbnb rentals in San Francisco are \u003ca href=\"http://www.48hills.org/2015/11/02/most-airbnb-listings-are-entire-houses/\" target=\"_blank\" rel=\"noopener\">entire houses, available for rent over 90 days a year\u003c/a>. (One of the intents of Prop. F is to limit the use of a landlord’s room as a short-term rental to 75 days per year.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Airbnb has invested many millions to attack the proposition, but some of their \u003ca href=\"http://ww2.kqed.org/news/2015/10/22/airbnb-concedes-it-goofed-with-dear-san-francisco-ads\" target=\"_blank\" rel=\"noopener\">ads have backfired\u003c/a>. In the wake of the public-relations meltdown, a few positive pieces on Airbnb were published — including in the New York Times’ magazine \u003ci>T\u003c/i>, which, in a clear conflict of interest, was written by the \u003ca href=\"http://publiceditor.blogs.nytimes.com/2015/10/29/conflict-of-interest-in-t-magazines-tech-article/?_r=0\" target=\"_blank\" rel=\"noopener\">wife of a major investor in Airbnb\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.buzzfeed.com/carolineodonovan/airbnb-eve-a-tech-behemoth-comes-face-to-face-with-san-franc#.fiEemy0NQ\" target=\"_blank\" rel=\"noopener\">a recent piece on \u003ci>Buzzfeed\u003c/i>\u003c/a>, author Caroline O’Donovan wrote that the wife of Airbnb’s vice-president of product had started her own baking business making cookies resembling Frida Kahlo. In order to offset business startup costs, the couple planned to rent one of their rooms on Airbnb, but claimed Prop. F’s restrictions would end those plans.\u003c/p>\n\u003cp>On that same story, one commenter noted that the artist who introduced Frida Kahlo’s work to an American audience was \u003ca href=\"http://missionlocal.org/2013/10/royalty-of-the-mission-art-scene-faces-eviction/\" target=\"_blank\" rel=\"noopener\">Rene Yañez\u003c/a>, who held Kahlo’s first show at San Francisco’s Galeria de la Raza in the 1970s. A city resident for 35 years — who’s also credited with turning Dia de los Muertos into a citywide event — Yañez and his entire family were \u003ca href=\"http://missionlocal.org/2014/05/eviction-garage-sale-a-sense-of-place/\" target=\"_blank\" rel=\"noopener\">evicted from their duplex on San Jose Ave.\u003c/a> through the controversial Ellis Act last year. At the time, both Yañez and his wife were fighting terminal cancer.\u003c/p>\n\u003cp>According to InsideAirbnb, there are currently 922 Airbnb listings in the Mission alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>(For more on the potential impacts of Proposition F, see the KQED newsroom’s \u003ca href=\"http://ww2.kqed.org/news/2015/10/06/how-san-franciscos-prop-f-would-change-airbnb-rentals\" target=\"_blank\" rel=\"noopener\">recent overview\u003c/a>.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this year’s ballot, two propositions in San Francisco — Propositions I and F — have come to represent the city’s well-publicized tension between its growing tech-worker population and its long-established artistic class.\u003c/p>\n\u003cp>In one case, a fast-growing tech company has spent over $8 million to stop a proposition that would increase regulations on its services, which data shows have contributed to the city’s housing shortage and mass exodus of longtime residents. In the other, the passage of a proposition would mean that a new 4,000-capacity dance hall would be unable to open for three years, but it would also mean that a small-but-beloved music venue would get to stay open for a good while longer.\u003c/p>\n\u003cp>\u003ci>For more information on these propositions, and other measures on this year’s ballot, see KQED News’ \u003ca href=\"http://ww2.kqed.org/news/tag/2015-election\" target=\"_blank\" rel=\"noopener\">November 2015 Election Guide\u003c/a>)\u003c/i>\u003c/p>\n\u003ch2>Proposition I\u003c/h2>\n\u003cp>Prop. I’s main intent is to institute a moratorium on luxury housing in the city’s Mission District; it would block construction of any new residential buildings with five or more units, possibly for two years. But the proposition would also halt new “business development projects,” including the opening of Drill Court, a larger event space inside Kink.com’s Armory on 14th and Mission. If the proposition passes, Kink.com would be unable to convert the currently part-time space into a full-time music venue, thereby rendering it \u003ca href=\"http://sfist.com/2015/09/29/mission_moratorium_would_kill_plans.php\" target=\"_blank\" rel=\"noopener\">financially impossible to run\u003c/a>.\u003c/p>\n\u003cp>On the other hand, Prop. I would save the Elbo Room from being turned into a five-story condo development for at least 18 months. When the cherished venue announced that its owners planned to shut down the club, late last year, local residents quickly \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">came together to block the conversion\u003c/a>. When the owners’ plans were approved, it looked like the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room was doomed\u003c/a>. Delays with the project led building owners Dennis and Susan Ring to allow the Elbo Room to stay open through the end of the year, however, and to operate on a month-to-month lease through 2016. If Prop I passes, the Elbo Room would be allowed to operate into at least 2017.\u003c/p>\n\u003ch2>Proposition F\u003c/h2>\n\u003cp>The biggest issue affecting artists in San Francisco is housing: a recent survey conducted by the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission \u003c/a>found that out of 600 respondents, 70 percent had lost or were in the process of losing their workspaces or homes. A contributor to this housing shortage is Airbnb, the online service that allows local residents to utilize empty rooms as short-term rentals. But the system is being abused in San Francisco: according to \u003ca href=\"http://insideairbnb.com/san-francisco/#\" target=\"_blank\" rel=\"noopener\">InsideAirbnb\u003c/a>, which monitors the site’s data, almost 60 percent of Airbnb rentals in San Francisco are \u003ca href=\"http://www.48hills.org/2015/11/02/most-airbnb-listings-are-entire-houses/\" target=\"_blank\" rel=\"noopener\">entire houses, available for rent over 90 days a year\u003c/a>. (One of the intents of Prop. F is to limit the use of a landlord’s room as a short-term rental to 75 days per year.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"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?",
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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