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"content": "\u003cp>Metallica has \u003ca href=\"http://metallica.com/\" target=\"_blank\" rel=\"noopener\">just announced\u003c/a> a show at AT&T Park for Feb. 6 — the night before the Super Bowl — and as usual, there’s a confusing labyrinth of ticket presales, fan club passwords and more.\u003c/p>\n\u003cp>Tickets to the general public go on sale Friday, Nov. 6 at 10am, but there are numerous ways to score tickets beforehand. Here’s your simple guide:\u003c/p>\n\u003cp>On \u003cstrong>Tuesday, Nov. 3\u003c/strong> at 10am, tickets go \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to members of Metallica’s fan club, the \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">Met Club\u003c/a>. Signing up is free; I just did it, and it took about 30 seconds. \u003ca href=\"http://metallica.com/blog/club-news/356881/san-francisco-met-club-presale-starts-tuesday-nove\" target=\"_blank\" rel=\"noopener\">Sign up here\u003c/a>, and you’ll be first to buy tickets.\u003c/p>\n\u003cp>On \u003cstrong>Wednesday, Nov. 4\u003c/strong> at 10am, tickets go \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to Citi cardholders. You have to buy the tickets with an actual Citi card, so borrow one from your dad. \u003c/p>\n\u003cp>On \u003cstrong>Thursday, Nov. 5\u003c/strong> at 10am, tickets go on sale to Giants \u003ca href=\"http://sanfrancisco.giants.mlb.com/sf/ticketing/sth/\" target=\"_blank\" rel=\"noopener\">season-ticket holders\u003c/a>; if you know someone with season tickets, hit ’em up. Also at the same time is a Live Nation presale, accessed by downloading Live Nation’s \u003ca href=\"http://www.livenation.com/mobile/\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On \u003cstrong>Friday, Nov. 6\u003c/strong> at 10am, tickets go on sale \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">to the general public\u003c/a>… but why would you wait that long?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica has \u003ca href=\"http://metallica.com/\" target=\"_blank\" rel=\"noopener\">just announced\u003c/a> a show at AT&T Park for Feb. 6 — the night before the Super Bowl — and as usual, there’s a confusing labyrinth of ticket presales, fan club passwords and more.\u003c/p>\n\u003cp>Tickets to the general public go on sale Friday, Nov. 6 at 10am, but there are numerous ways to score tickets beforehand. Here’s your simple guide:\u003c/p>\n\u003cp>On \u003cstrong>Tuesday, Nov. 3\u003c/strong> at 10am, tickets go \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to members of Metallica’s fan club, the \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">Met Club\u003c/a>. Signing up is free; I just did it, and it took about 30 seconds. \u003ca href=\"http://metallica.com/blog/club-news/356881/san-francisco-met-club-presale-starts-tuesday-nove\" target=\"_blank\" rel=\"noopener\">Sign up here\u003c/a>, and you’ll be first to buy tickets.\u003c/p>\n\u003cp>On \u003cstrong>Wednesday, Nov. 4\u003c/strong> at 10am, tickets go \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to Citi cardholders. You have to buy the tickets with an actual Citi card, so borrow one from your dad. \u003c/p>\n\u003cp>On \u003cstrong>Thursday, Nov. 5\u003c/strong> at 10am, tickets go on sale to Giants \u003ca href=\"http://sanfrancisco.giants.mlb.com/sf/ticketing/sth/\" target=\"_blank\" rel=\"noopener\">season-ticket holders\u003c/a>; if you know someone with season tickets, hit ’em up. Also at the same time is a Live Nation presale, accessed by downloading Live Nation’s \u003ca href=\"http://www.livenation.com/mobile/\" target=\"_blank\" rel=\"noopener\">mobile app\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>On \u003cstrong>Friday, Nov. 6\u003c/strong> at 10am, tickets go on sale \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">to the general public\u003c/a>… but why would you wait that long?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Margins to the Mainstream: Carrie Brownstein's Riveting Memoir",
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"content": "\u003cp>The best music memoirs operate as more than simply extended liner notes for nerdy completists — they also reveal the deeper emotional struggles driving artists from the margins to the mainstream. These transcendent narratives intimately map the psyches of cultural trailblazers such as Patti Smith, with the revealing \u003cem>M Train\u003c/em> and \u003cem>Just Kids\u003c/em>, or Sonic Youth’s Kim Gordon, who chronicled her rise from experimental artist to festival headliner in this year’s excellent memoir, \u003cem>Girl in a Band\u003c/em>. Now Carrie Brownstein enters the world of fearless rock memoirists with her beautifully written literary debut, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>.\u003c/p>\n\u003cp>Brownstein possesses an enviable array of talents. She’s the co-frontwoman of the acclaimed Northwest rock trio Sleater-Kinney, whose ardent feminist anthems propelled the group from its Olympia roots to an international stage. She’s also the co-creator/co-star of the Emmy-nominated series \u003cem>Portlandia\u003c/em>, the IFC comedy steeped in hipster satire, and has a recurring role on the Amazon series \u003cem>Transparent\u003c/em>. She’s become a cultural critic as well over the past decade, sharpening her elegant prose as a \u003ca href=\"http://www.npr.org/series/129083641/the-best-of-monitor-mix-by-carrie-brownstein\" target=\"_blank\" rel=\"noopener\">columnist for NPR\u003c/a>. But the recurring theme in Brownstein’s memoir isn’t her many accomplishments; it’s the more interesting story of an anguished misfit battling to constantly calibrate her place in the world. \u003c/p>\n\u003cfigure id=\"attachment_11049568\" class=\"wp-caption alignright\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg\" alt=\"'Hunger Makes Me a Modern Girl.' (Penguin/Random House)\" width=\"806\" height=\"1217\" class=\"size-full wp-image-11049568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-781x1180.jpg 781w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘Hunger Makes Me a Modern Girl.’ (Penguin/Random House)\u003c/figcaption>\u003c/figure>\n\u003cp>Brownstein’s struggle for visibility began at home in the suburbs of Seattle, where her parents’ personal crises subsumed their daughter’s needs. Take, for example, this passage on her mother, a woman she describes as becoming increasingly absorbed by anorexia: \u003c/p>\n\u003cblockquote>\u003cp>She was retreating from the world, a slow-motion magic trick. Meanwhile I was getting louder, angrier, wilder. I experimented with early forms of my own amplification — of self, of voice, of fury — while my mother’s volume was turned down lower and lower.\u003c/p>\u003c/blockquote>\n\u003cp>And then there’s her father, a man about whom she knew very little, despite growing up with him. He disappeared into a closeted life, awkwardly coming out to his daughter very in his 50s in a scene she describes as “typical, like he was just a sidekick in his own life, a shadow.”\u003c/p>\n\u003cp>Part One of \u003cem>Hunger\u003c/em> sets the groundwork that Brownstein needed constant validation from new audiences. She’s occasionally self-mocking when she writes of her grabs for attention, but humor doesn’t drive her storytelling as much as self-awareness. The blunt, reflective tone is fitting for a book that doesn’t encompass Brownstein’s years as a comedic actress (or even her work with the band Wild Flag). \u003cem>Hunger\u003c/em> is a chronological memoir bookended by the implosion of Sleater-Kinney, with a short epilogue on the subsequent reformation of the band in more recent years. In Part Two, Brownstein gives the detailed explanations fans would expect about the stories behind the group’s songs, tours, romantic tensions, and recording sessions. But even these memories serve to underscore the underlying needing to be heard when you exist on the fringes of your family and your music scene. \u003c/p>\n\u003cfigure id=\"attachment_10618726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CB1.jpg\" alt=\"Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10618726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a fitting format for a book about a band that was passionately pushing up against societal constraints, and whose members were acutely aware of where they stood in the ’90s, especially against the reigning “slacker rock” performed by men like Beck, Rivers Cuomo of Weezer, and Stephen Malkmus of Pavement. Brownstein has a particularly poignant passage on this topic after calling out this trio of rock gods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Entitlement is a precarious place from which to create or perform,” she writes of the affected “slacker” apathy. “It projects the idea that you have nothing to prove, nothing to claim, nothing to show but self-satisfaction, a smug boredom… I don’t understand how someone would not push, challenge, or at least be present, how anyone could get onstage and not give \u003cem>everything\u003c/em>.”\u003c/p>\n\u003cp>In Sleater-Kinney, Brownstein gave so much that her body retreated into anxiety-driven illness towards the end of the group’s first run. She’d come down with hives, shingles, or panic attacks, and would have to suffer through or give up on tour. \u003c/p>\n\u003cp>In the end, we know both Brownstein and her renowned band persevered. And though \u003cem>Hunger\u003c/em> explores the gaping sadness caused by her insatiable need to be noticed, the memoir also proves it ultimately lead to much greater artistic strides.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Carrie Brownstein is in conversation with Dave Eggers on Wednesday, Nov. 4, at the San Francisco Jewish Community Center. The show is sold out, but the public is invited to watch the 8pm livestream of the interview at jccsf.org/ondemand.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best music memoirs operate as more than simply extended liner notes for nerdy completists — they also reveal the deeper emotional struggles driving artists from the margins to the mainstream. These transcendent narratives intimately map the psyches of cultural trailblazers such as Patti Smith, with the revealing \u003cem>M Train\u003c/em> and \u003cem>Just Kids\u003c/em>, or Sonic Youth’s Kim Gordon, who chronicled her rise from experimental artist to festival headliner in this year’s excellent memoir, \u003cem>Girl in a Band\u003c/em>. Now Carrie Brownstein enters the world of fearless rock memoirists with her beautifully written literary debut, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>.\u003c/p>\n\u003cp>Brownstein possesses an enviable array of talents. She’s the co-frontwoman of the acclaimed Northwest rock trio Sleater-Kinney, whose ardent feminist anthems propelled the group from its Olympia roots to an international stage. She’s also the co-creator/co-star of the Emmy-nominated series \u003cem>Portlandia\u003c/em>, the IFC comedy steeped in hipster satire, and has a recurring role on the Amazon series \u003cem>Transparent\u003c/em>. She’s become a cultural critic as well over the past decade, sharpening her elegant prose as a \u003ca href=\"http://www.npr.org/series/129083641/the-best-of-monitor-mix-by-carrie-brownstein\" target=\"_blank\" rel=\"noopener\">columnist for NPR\u003c/a>. But the recurring theme in Brownstein’s memoir isn’t her many accomplishments; it’s the more interesting story of an anguished misfit battling to constantly calibrate her place in the world. \u003c/p>\n\u003cfigure id=\"attachment_11049568\" class=\"wp-caption alignright\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg\" alt=\"'Hunger Makes Me a Modern Girl.' (Penguin/Random House)\" width=\"806\" height=\"1217\" class=\"size-full wp-image-11049568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-781x1180.jpg 781w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘Hunger Makes Me a Modern Girl.’ (Penguin/Random House)\u003c/figcaption>\u003c/figure>\n\u003cp>Brownstein’s struggle for visibility began at home in the suburbs of Seattle, where her parents’ personal crises subsumed their daughter’s needs. Take, for example, this passage on her mother, a woman she describes as becoming increasingly absorbed by anorexia: \u003c/p>\n\u003cblockquote>\u003cp>She was retreating from the world, a slow-motion magic trick. Meanwhile I was getting louder, angrier, wilder. I experimented with early forms of my own amplification — of self, of voice, of fury — while my mother’s volume was turned down lower and lower.\u003c/p>\u003c/blockquote>\n\u003cp>And then there’s her father, a man about whom she knew very little, despite growing up with him. He disappeared into a closeted life, awkwardly coming out to his daughter very in his 50s in a scene she describes as “typical, like he was just a sidekick in his own life, a shadow.”\u003c/p>\n\u003cp>Part One of \u003cem>Hunger\u003c/em> sets the groundwork that Brownstein needed constant validation from new audiences. She’s occasionally self-mocking when she writes of her grabs for attention, but humor doesn’t drive her storytelling as much as self-awareness. The blunt, reflective tone is fitting for a book that doesn’t encompass Brownstein’s years as a comedic actress (or even her work with the band Wild Flag). \u003cem>Hunger\u003c/em> is a chronological memoir bookended by the implosion of Sleater-Kinney, with a short epilogue on the subsequent reformation of the band in more recent years. In Part Two, Brownstein gives the detailed explanations fans would expect about the stories behind the group’s songs, tours, romantic tensions, and recording sessions. But even these memories serve to underscore the underlying needing to be heard when you exist on the fringes of your family and your music scene. \u003c/p>\n\u003cfigure id=\"attachment_10618726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CB1.jpg\" alt=\"Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10618726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a fitting format for a book about a band that was passionately pushing up against societal constraints, and whose members were acutely aware of where they stood in the ’90s, especially against the reigning “slacker rock” performed by men like Beck, Rivers Cuomo of Weezer, and Stephen Malkmus of Pavement. Brownstein has a particularly poignant passage on this topic after calling out this trio of rock gods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Entitlement is a precarious place from which to create or perform,” she writes of the affected “slacker” apathy. “It projects the idea that you have nothing to prove, nothing to claim, nothing to show but self-satisfaction, a smug boredom… I don’t understand how someone would not push, challenge, or at least be present, how anyone could get onstage and not give \u003cem>everything\u003c/em>.”\u003c/p>\n\u003cp>In Sleater-Kinney, Brownstein gave so much that her body retreated into anxiety-driven illness towards the end of the group’s first run. She’d come down with hives, shingles, or panic attacks, and would have to suffer through or give up on tour. \u003c/p>\n\u003cp>In the end, we know both Brownstein and her renowned band persevered. And though \u003cem>Hunger\u003c/em> explores the gaping sadness caused by her insatiable need to be noticed, the memoir also proves it ultimately lead to much greater artistic strides.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Carrie Brownstein is in conversation with Dave Eggers on Wednesday, Nov. 4, at the San Francisco Jewish Community Center. The show is sold out, but the public is invited to watch the 8pm livestream of the interview at jccsf.org/ondemand.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking at the credits, \u003ca href=\"http://www.luismunoz.net\">Luis Muñoz\u003c/a>’s gorgeous new album \"Voz\" seems like it’s all over the map. And it is, in the best possible way. It is a project overstuffed with an international array of artists who have each made memorable recordings of their own, but \"Voz\" never suffers from a lack of focus.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/230869176\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A multi-instrumentalist who plays piano, percussion, melodica and drums, Muñoz guides the proceedings carefully as a composer and arranger. He doesn’t even play on every track, but his generous spirit suffuses the music from beginning to end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg\">\u003cimg class=\"alignleft wp-image-10739685\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg\" alt=\"VOZ\" width=\"257\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg 1400w\" sizes=\"(max-width: 257px) 100vw, 257px\">\u003c/a>As the title suggests, \"Voz\" is a project focusing on the human voice, and what voices! Muñoz showcases three remarkable women from across Latin America, creating bespoke compositions and arrangements to fit the contours of their unmistakable sounds. Like so many Latin American musicians who have settled in the United States in recent decades, Santa Barbara-based Muñoz has created a highly personal style that could be called Latin jazz, though it has little to do with the Afro-Cuban/jazz synthesis forged by Dizzy Gillespie, Chano Pozo and Mario Bauza in the 1940s.\u003c/p>\n\u003cp>Instead, he’s crafted a luscious sound that’s more interested in song form and creating evocative settings for lyrics than groove. He seems particularly inspired by \u003ca href=\"http://www.magosherrera.com\">Magos Herrera\u003c/a>, a captivating jazz singer born and raised in Mexico City and now based in New York. She’s the most prominently featured of the album’s singers, and Muñoz makes the most out of her sensuously throaty voice on the opening track “\u003ca href=\"https://www.youtube.com/watch?v=zJurCZDeFD8\">Preludio y Fin\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For players, Muñoz draws on a cast of longtime collaborators, including pianist Adam Asarnow, bassist Brendan Statom and guitarist Daniel Zimmerman. Each track features different instrumentation. On “Argentina,” an elegant setting for a lyric by Nicaraguan singer/songwriter Luis Enrique Mejía, Herrera engages in a hip-swaying dance with the flugelhorn of Jonathan Dane, whose self-possessed horn work provides the album with another striking voice.\u003c/p>\n\u003cp>Born and raised in Costa Rica, where he graduated from the National Conservatory, Muñoz moved to California in the mid-1970s to study music at UC Santa Barbara. He’s been there ever since, creating music for film, dance and theater, while documenting his own compositions on a series of acclaimed albums.\u003c/p>\n\u003cp>\"Voz\" is his most personal project yet, one that often finds him reaching back to his Central American roots for inspiration. “\u003ca href=\"https://www.youtube.com/watch?v=wlI_nm6rnBw\">Quisiera\u003c/a>” is a collaboration with multi-instrumentalist \u003ca href=\"http://www.grupomalpais.com/jaime_gamboa.php\">Jaime Gamboa\u003c/a>, a founding member of the great Costa Rican band Malpais. A lament for lost love, the song features a double dose of soul with vocals by São Paulo-raised, Southern California-based \u003ca href=\"http://www.newbossa.com\">Téka Penteriche\u003c/a> and Chile’s \u003ca href=\"http://www.marsalismusic.com/claudia-acuna\">Claudia Acuña\u003c/a>, a longtime force on the New York scene.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6fDsXNGADIE\u003c/p>\n\u003cp>What’s particularly impressive about \"Voz\" is Muñoz’s restraint and exquisite taste. On paper the album looks like it was conceived by a kid in a candy store, but his spacious orchestrations and measured tempos give the music plenty of room to breathe, even on the most intricately constructed tracks.\u003c/p>\n\u003cp>He leaves you wanting to hear more from every singer, particularly Téka, who shines on the undulating samba “Pasion,” which features a lyric by Panamanian songwriter Romulo Castro (best known for his work with Ruben Blades). The 86-year-old jazz great Ron Kalina provides gleaming counterpoint on chromatic harmonica.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album closes with the most intimate-sounding track, “Amanecer Luminoso,” or “Luminous Dawn,” a brief setting for a poem by Costa Rican literary lion Osvaldo Sauma featuring Magos Herrera, backed only by pianist Adam Asarnow. Muñoz doesn’t play on the piece, but as an artist attuned to the ephemeral nature of life and love, his voice comes through every track on \"Voz,\" a gossamer dreamscape of an album.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at the credits, \u003ca href=\"http://www.luismunoz.net\">Luis Muñoz\u003c/a>’s gorgeous new album \"Voz\" seems like it’s all over the map. And it is, in the best possible way. It is a project overstuffed with an international array of artists who have each made memorable recordings of their own, but \"Voz\" never suffers from a lack of focus.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/230869176&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/230869176'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A multi-instrumentalist who plays piano, percussion, melodica and drums, Muñoz guides the proceedings carefully as a composer and arranger. He doesn’t even play on every track, but his generous spirit suffuses the music from beginning to end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg\">\u003cimg class=\"alignleft wp-image-10739685\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg\" alt=\"VOZ\" width=\"257\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg 1400w\" sizes=\"(max-width: 257px) 100vw, 257px\">\u003c/a>As the title suggests, \"Voz\" is a project focusing on the human voice, and what voices! Muñoz showcases three remarkable women from across Latin America, creating bespoke compositions and arrangements to fit the contours of their unmistakable sounds. Like so many Latin American musicians who have settled in the United States in recent decades, Santa Barbara-based Muñoz has created a highly personal style that could be called Latin jazz, though it has little to do with the Afro-Cuban/jazz synthesis forged by Dizzy Gillespie, Chano Pozo and Mario Bauza in the 1940s.\u003c/p>\n\u003cp>Instead, he’s crafted a luscious sound that’s more interested in song form and creating evocative settings for lyrics than groove. He seems particularly inspired by \u003ca href=\"http://www.magosherrera.com\">Magos Herrera\u003c/a>, a captivating jazz singer born and raised in Mexico City and now based in New York. She’s the most prominently featured of the album’s singers, and Muñoz makes the most out of her sensuously throaty voice on the opening track “\u003ca href=\"https://www.youtube.com/watch?v=zJurCZDeFD8\">Preludio y Fin\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For players, Muñoz draws on a cast of longtime collaborators, including pianist Adam Asarnow, bassist Brendan Statom and guitarist Daniel Zimmerman. Each track features different instrumentation. On “Argentina,” an elegant setting for a lyric by Nicaraguan singer/songwriter Luis Enrique Mejía, Herrera engages in a hip-swaying dance with the flugelhorn of Jonathan Dane, whose self-possessed horn work provides the album with another striking voice.\u003c/p>\n\u003cp>Born and raised in Costa Rica, where he graduated from the National Conservatory, Muñoz moved to California in the mid-1970s to study music at UC Santa Barbara. He’s been there ever since, creating music for film, dance and theater, while documenting his own compositions on a series of acclaimed albums.\u003c/p>\n\u003cp>\"Voz\" is his most personal project yet, one that often finds him reaching back to his Central American roots for inspiration. “\u003ca href=\"https://www.youtube.com/watch?v=wlI_nm6rnBw\">Quisiera\u003c/a>” is a collaboration with multi-instrumentalist \u003ca href=\"http://www.grupomalpais.com/jaime_gamboa.php\">Jaime Gamboa\u003c/a>, a founding member of the great Costa Rican band Malpais. A lament for lost love, the song features a double dose of soul with vocals by São Paulo-raised, Southern California-based \u003ca href=\"http://www.newbossa.com\">Téka Penteriche\u003c/a> and Chile’s \u003ca href=\"http://www.marsalismusic.com/claudia-acuna\">Claudia Acuña\u003c/a>, a longtime force on the New York scene.\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/6fDsXNGADIE'\n title='//www.youtube.com/embed/6fDsXNGADIE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s particularly impressive about \"Voz\" is Muñoz’s restraint and exquisite taste. On paper the album looks like it was conceived by a kid in a candy store, but his spacious orchestrations and measured tempos give the music plenty of room to breathe, even on the most intricately constructed tracks.\u003c/p>\n\u003cp>He leaves you wanting to hear more from every singer, particularly Téka, who shines on the undulating samba “Pasion,” which features a lyric by Panamanian songwriter Romulo Castro (best known for his work with Ruben Blades). The 86-year-old jazz great Ron Kalina provides gleaming counterpoint on chromatic harmonica.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album closes with the most intimate-sounding track, “Amanecer Luminoso,” or “Luminous Dawn,” a brief setting for a poem by Costa Rican literary lion Osvaldo Sauma featuring Magos Herrera, backed only by pianist Adam Asarnow. Muñoz doesn’t play on the piece, but as an artist attuned to the ephemeral nature of life and love, his voice comes through every track on \"Voz,\" a gossamer dreamscape of an album.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every time I think of joy, I think of the post-punk band Joy Division: That its members named the band after a concentration camp brothel where Jewish prisoners serviced SS officers is just the first of a series of tragic gestures that ended with lead singer Ian Curtis swinging from the rafters of his Manchester flat, a suicide at the age of twenty-three. It all makes for one grotesque, ironic joke. And yet the band’s music — somber, jagged, haunted — is full of joy. It suggests that joy isn’t a state unto itself, something pure and cut off from the world, but rather the remains of fear, hatred, and our own savage sense of survival. It is an after effect, what we wish for after the violence of the world has had its way.\u003c/p>\n\u003cp>Nowhere is this savagery better expressed than in Dave Malloy’s brilliant and terrifying song cycle, \u003cem>Ghost Quartet\u003c/em>. You couldn’t ask for a more suitable setting than the empty Curran Theatre, presently undergoing a full-scale renovation. With the vast auditorium—silent and stately—looming in the background, it’s as if the performers and the audience, relegated to the tiny bit of land of the stage, are floating in space.\u003c/p>\n\u003cp>By necessity, musical theater often relies on simple stories simply told. But Malloy is a master of complex narrative techniques. The composer effortlessly takes four stories, spanning the 14th to the 21st centuries, and twists them until they seamlessly blend into each other. He achieves this without explaining them out. Instead, he relies on the emotion of the moment and our ability to piece together converging patterns, very much like how an astronomer might explain the order of the stars to a child.\u003c/p>\n\u003cp>So we get two sets of sisters, a Rose and Pearl seven centuries apart, who are connected by a 19th century Roxie whose dead sister is also a Rose. That they are all connected by murder is just the beginning of their nightmares. How Malloy and his talented performer-musicians shepherd these tragic stories towards a communal and joyful end is a wonder that is as simple as it is majestic.\u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> isn’t alone, though. Throughout the Bay Area, theater companies large and small have been taking a torturous path to joy. Perhaps in anticipation of the coming season\u003cstrong>, \u003c/strong>we should take these as warning signs of the difficult times to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill’s \u003cem>Ah, Wilderness! \u003c/em>at the American Conservatory Theater (ACT)\u003c/strong>\u003c/p>\n\u003cp>Eugene O’Neill’s \u003cem>Ah, Wilderness!\u003c/em> offers one of the savviest, saddest scenes of joy in the American theater. The set up is sentimental; the result is not. On the fourth of July, Sid, played by Dan Hiatt in ACT’s new production, is looking forward to a date with Lily (Margo Hall). But to get it, he can’t get drunk at the afternoon picnic. Sid’s sister, Essie (Rachel Ticotin), is married to Lily’s brother, Nate (Anthony Fusco). One could say that Nate and Essie are the ideal that Sid and Lily just miss.\u003c/p>\n\u003cfigure id=\"attachment_11041094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041094 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-800x533.jpg\" alt=\"Sid Davis (Dan Hiatt, pictured in orange suit) indulges the Miller family with food gags at the dinner table in Eugene O'Neill's Ah, Wilderness!, performing at A.C.T.'s Geary Theater through Sunday, November 8.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sid Davis (Dan Hiatt, pictured in orange suit) entertains the Miller family in Eugene O’Neill’s ‘Ah, Wilderness!’ at ACT’s Geary Theater. (Photo: Kevin Berne)\u003c/figcaption>\u003c/figure>\n\u003cp>When Sid and Nate come back slightly drunk and then some, the family sits down to dinner (including three of the children) and Sid starts to entertain them. Sid is entertaining, and he is clearly better at it drunk, and Lily is having a great time, and so are we, and that’s the problem. The more joy he brings, the less joyful his life becomes — and Lily’s — and finally all those who love him. Hiatt, Hall, Fusco and Ticotin bring this all off without seeming to even wind up. It just happens. It’s the high point of a fine production, but even better, it haunts every joyful moment after it with real fear.\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’ production of Aphra Behn’s \u003cem>The Rover\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Real fear also courses through the Shotgun Players’ production of Aphra Behn’s Restoration comedy, \u003cem>The Rover\u003c/em>. Set in Naples during carnival season, it’s a fast, sharp farce with a nasty, vicious edge, dexterously directed by M. Graham Smith with a brilliant sound design by Theodore J.H. Hulsker. At times it’s hard to tell what brings the characters more pleasure: love or inflicting pain. It’s a toss up for the audience, too.\u003c/p>\n\u003cfigure id=\"attachment_11041096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041096 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8-800x533.jpg\" alt=\"The Rover\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(from right to left) Wilmore (Jeremy Kahn) and Hellena (Caitlyn Louchard) find joy as Don Pedro (Dan Saski) looks on in ‘The Rover’ at the Ashby Stage. (Photo: Pak Han)\u003c/figcaption>\u003c/figure>\n\u003cp>Well, come on, not really.\u003c/p>\n\u003cp>We might root for the central couple, good Florinda and her steadfast Captain Belvile. But it’s the rover, Captain Wilmore, who intrigues. And not just us, but also Florinda’s sister, Hellena, scrapping life in the convent for a different kind of God. That this God’s a sick dick — that he mistakenly tries to rape his good friend’s fiancée, seduces a wily and experienced courtesan to the point of despair, and whose only redeeming feature is an animal’s ability to survive — well, that’s the type of joy you get in Restoration Comedy. But what a pleasure Wilmore the rover is, and Jeremy Kahn’s performance catches this demi-god in all his sleazy wonder.\u003c/p>\n\u003cp>In its season of women playwrights, Shotgun seems concerned with selling Behn’s feminist credentials, and she was a woman ahead of her time. But she was also an artist \u003cem>of\u003c/em> her time and the Restoration playwrights (Behn, Congreve, Sheridan, Farquhar) understood that most people are corrupt. And so she comes to a disturbing conclusion about joy: In Behn’s world, you must learn to forget every kind of injustice if you want any kind of happiness. That’s joy with an undertow, which is where it belongs, submerged and gasping for air.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> runs through October 31, 2015 at the Curran Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.sfcurran.com\">www.sfcurran.com\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Ah, Wilderness!\u003c/em> runs through November 8, 2015 at the Geary Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.act-sf.org\">http://www.act-sf.org\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Rover\u003c/em> runs through November 15, 2015 at the Ashby Theater in Berkeley. For tickets and information visit \u003ca href=\"http://www.shotgunplayers.org\">www.shotgunplayers.org\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Theater Junkie: What do Joy Division and Eugene O'Neill have in Common? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every time I think of joy, I think of the post-punk band Joy Division: That its members named the band after a concentration camp brothel where Jewish prisoners serviced SS officers is just the first of a series of tragic gestures that ended with lead singer Ian Curtis swinging from the rafters of his Manchester flat, a suicide at the age of twenty-three. It all makes for one grotesque, ironic joke. And yet the band’s music — somber, jagged, haunted — is full of joy. It suggests that joy isn’t a state unto itself, something pure and cut off from the world, but rather the remains of fear, hatred, and our own savage sense of survival. It is an after effect, what we wish for after the violence of the world has had its way.\u003c/p>\n\u003cp>Nowhere is this savagery better expressed than in Dave Malloy’s brilliant and terrifying song cycle, \u003cem>Ghost Quartet\u003c/em>. You couldn’t ask for a more suitable setting than the empty Curran Theatre, presently undergoing a full-scale renovation. With the vast auditorium—silent and stately—looming in the background, it’s as if the performers and the audience, relegated to the tiny bit of land of the stage, are floating in space.\u003c/p>\n\u003cp>By necessity, musical theater often relies on simple stories simply told. But Malloy is a master of complex narrative techniques. The composer effortlessly takes four stories, spanning the 14th to the 21st centuries, and twists them until they seamlessly blend into each other. He achieves this without explaining them out. Instead, he relies on the emotion of the moment and our ability to piece together converging patterns, very much like how an astronomer might explain the order of the stars to a child.\u003c/p>\n\u003cp>So we get two sets of sisters, a Rose and Pearl seven centuries apart, who are connected by a 19th century Roxie whose dead sister is also a Rose. That they are all connected by murder is just the beginning of their nightmares. How Malloy and his talented performer-musicians shepherd these tragic stories towards a communal and joyful end is a wonder that is as simple as it is majestic.\u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> isn’t alone, though. Throughout the Bay Area, theater companies large and small have been taking a torturous path to joy. Perhaps in anticipation of the coming season\u003cstrong>, \u003c/strong>we should take these as warning signs of the difficult times to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill’s \u003cem>Ah, Wilderness! \u003c/em>at the American Conservatory Theater (ACT)\u003c/strong>\u003c/p>\n\u003cp>Eugene O’Neill’s \u003cem>Ah, Wilderness!\u003c/em> offers one of the savviest, saddest scenes of joy in the American theater. The set up is sentimental; the result is not. On the fourth of July, Sid, played by Dan Hiatt in ACT’s new production, is looking forward to a date with Lily (Margo Hall). But to get it, he can’t get drunk at the afternoon picnic. Sid’s sister, Essie (Rachel Ticotin), is married to Lily’s brother, Nate (Anthony Fusco). One could say that Nate and Essie are the ideal that Sid and Lily just miss.\u003c/p>\n\u003cfigure id=\"attachment_11041094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041094 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-800x533.jpg\" alt=\"Sid Davis (Dan Hiatt, pictured in orange suit) indulges the Miller family with food gags at the dinner table in Eugene O'Neill's Ah, Wilderness!, performing at A.C.T.'s Geary Theater through Sunday, November 8.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sid Davis (Dan Hiatt, pictured in orange suit) entertains the Miller family in Eugene O’Neill’s ‘Ah, Wilderness!’ at ACT’s Geary Theater. (Photo: Kevin Berne)\u003c/figcaption>\u003c/figure>\n\u003cp>When Sid and Nate come back slightly drunk and then some, the family sits down to dinner (including three of the children) and Sid starts to entertain them. Sid is entertaining, and he is clearly better at it drunk, and Lily is having a great time, and so are we, and that’s the problem. The more joy he brings, the less joyful his life becomes — and Lily’s — and finally all those who love him. Hiatt, Hall, Fusco and Ticotin bring this all off without seeming to even wind up. It just happens. It’s the high point of a fine production, but even better, it haunts every joyful moment after it with real fear.\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’ production of Aphra Behn’s \u003cem>The Rover\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Real fear also courses through the Shotgun Players’ production of Aphra Behn’s Restoration comedy, \u003cem>The Rover\u003c/em>. Set in Naples during carnival season, it’s a fast, sharp farce with a nasty, vicious edge, dexterously directed by M. Graham Smith with a brilliant sound design by Theodore J.H. Hulsker. At times it’s hard to tell what brings the characters more pleasure: love or inflicting pain. It’s a toss up for the audience, too.\u003c/p>\n\u003cfigure id=\"attachment_11041096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041096 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8-800x533.jpg\" alt=\"The Rover\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(from right to left) Wilmore (Jeremy Kahn) and Hellena (Caitlyn Louchard) find joy as Don Pedro (Dan Saski) looks on in ‘The Rover’ at the Ashby Stage. (Photo: Pak Han)\u003c/figcaption>\u003c/figure>\n\u003cp>Well, come on, not really.\u003c/p>\n\u003cp>We might root for the central couple, good Florinda and her steadfast Captain Belvile. But it’s the rover, Captain Wilmore, who intrigues. And not just us, but also Florinda’s sister, Hellena, scrapping life in the convent for a different kind of God. That this God’s a sick dick — that he mistakenly tries to rape his good friend’s fiancée, seduces a wily and experienced courtesan to the point of despair, and whose only redeeming feature is an animal’s ability to survive — well, that’s the type of joy you get in Restoration Comedy. But what a pleasure Wilmore the rover is, and Jeremy Kahn’s performance catches this demi-god in all his sleazy wonder.\u003c/p>\n\u003cp>In its season of women playwrights, Shotgun seems concerned with selling Behn’s feminist credentials, and she was a woman ahead of her time. But she was also an artist \u003cem>of\u003c/em> her time and the Restoration playwrights (Behn, Congreve, Sheridan, Farquhar) understood that most people are corrupt. And so she comes to a disturbing conclusion about joy: In Behn’s world, you must learn to forget every kind of injustice if you want any kind of happiness. That’s joy with an undertow, which is where it belongs, submerged and gasping for air.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> runs through October 31, 2015 at the Curran Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.sfcurran.com\">www.sfcurran.com\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Ah, Wilderness!\u003c/em> runs through November 8, 2015 at the Geary Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.act-sf.org\">http://www.act-sf.org\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Rover\u003c/em> runs through November 15, 2015 at the Ashby Theater in Berkeley. For tickets and information visit \u003ca href=\"http://www.shotgunplayers.org\">www.shotgunplayers.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Music This Weekend That Isn't Your Friends Dressing Up Like the Ramones",
"headTitle": "Music This Weekend That Isn’t Your Friends Dressing Up Like the Ramones | KQED",
"content": "\u003cp>Every Halloween, an increasing number of local bands decide to dress up and pretend to be a band they’re not. Over at \u003cem>SF Weekly\u003c/em>, Jessi Phillips has \u003ca href=\"http://www.sfweekly.com/shookdown/2015/10/28/under-the-cover-bands-of-darkness-halloween-tribute-shows-roundup\" target=\"_blank\" rel=\"noopener\">a fine roundup\u003c/a> of these Halloween cover-band shows, including bargain-basement tributes to the Cure, Prince, Devo, Thin Lizzy, Sleater-Kinney, David Bowie, Bikini Kill, the Ramones and many more. \u003c/p>\n\u003cp>But what if your tastes run counter to pure novelty? As usual, there’s more music happening in the Bay Area this weekend than one might know what to do with. Here are our picks — which don’t require a costume for entry.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: Danzig at the San Jose Civic\u003c/strong>. The king of horror-punk doesn’t need to dress up for Halloween — as the former lead singer of the Misfits, Danzig essentially \u003cem>is\u003c/em> Halloween. When he’s not out \u003ca href=\"http://www.stereogum.com/560502/danzig-defends-kitty-litter-pic/news/\" target=\"_blank\" rel=\"noopener\">shopping for kitty litter\u003c/a>, he’s still one of punk’s most captivating, bellowing dramatists. \u003ca href=\"http://www.ticketmaster.com/danzig-san-jose-california-10-29-2015/event/1C004F0FD8DD708D\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11041849\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/KoolKeith-400x235.jpg\" alt=\"Kool Keith. (Photo: Social Hall SF)\" width=\"400\" height=\"235\" class=\"size-thumbnail wp-image-11041849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KoolKeith-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KoolKeith.jpg 678w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kool Keith. (Photo: Social Hall SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Oct. 30: Kool Keith at Social Hall SF\u003c/strong>. We’ll be the first to admit that Kool Keith has delivered his share of spotty shows (a particularly phoned-in concert at the Maritime Hall after his epic \u003cem>Black Elvis/Lost in Space\u003c/em> in 1999 still stings), but the twisted genius of the man born Keith Thornton is worth the risk. Styled as a Sun Ra / George Clinton for the 21st century, the producer and rapper is a true American original, here promising “the return of Dr. Octagon,” his 1996 gynecologist alter-ego. \u003ca href=\"http://www.socialhallsf.com/events/detail/281421\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: ROVA Sax Quartet at Center for New Music, San Francisco\u003c/strong>. The ROVA quartet are a Bay Area institution that we often take for granted; in fact, they’re soon journeying on a European tour to bask in the appreciation of overseas audiences. Before they go, Bruce Ackley, Steve Adams, Larry Ochs and Jon Raskin perform compositions both new and decades-old at this intimate space which, along with presenting the city’s most daring new music, nobly gives 100% of the door’s proceeds to the performers. \u003ca href=\"http://centerfornewmusic.com/calendar/rova-sax-quartet-pre-tour-concert/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: HBK Gang feat. Kehlani at the Warfield, San Francisco\u003c/strong>. Richmond’s homegrown hip-hop collective has already seen hits with Sage the Gemini’s “Red Nose” and “Gas Pedal,” and a steady creative output from rapper Iamsu (who KQED \u003ca href=\"http://ww2.kqed.org/arts/2015/03/24/a-day-in-the-life-with-breakout-bay-area-rappers-hbk-gang/\" target=\"_blank\" rel=\"noopener\">profiled last year\u003c/a>). But there’s no disguising this year’s star: \u003cstrong>Kehlani\u003c/strong>, raised in Oakland and poised on the precipice of stardom. With a huge fan base and a catalog of raw, honest songs, the 20-year-old \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">dazzled us in a sold-out show\u003c/a> earlier this year; this is the second of two sure-to-be-packed nights. \u003ca href=\"http://www.axs.com/events/292473/heartbreak-halloween-featuring-sage-the-gemini-kehlani-iamsu-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: Death at Oakland Metro\u003c/strong>. One of the more surprising comeback stories in recent history belongs to this trio of black brothers from Detroit, whose proto-punk style might have been lost to the dustbin of history were it not for rabid 45 collectors and the good taste of Drag City Records. Now, with three albums and \u003ca href=\"http://drafthousefilms.com/film/a-band-called-death\" target=\"_blank\" rel=\"noopener\">one documentary\u003c/a> to their name, the band has transcended the “Bad Brains before there was Bad Brains” storyline. Hear powerful songs like “\u003ca href=\"https://www.youtube.com/watch?v=rl3FstCc_OY\" target=\"_blank\" rel=\"noopener\">Politicians in My Eyes\u003c/a>” when they come to Jack London Square. \u003ca href=\"http://www.oaklandmetro.org/event/221999\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003cstrong>\u003cbr>\nSaturday, Oct. 31: Howard Wiley at Cafe Stritch, San Jose\u003c/strong>. There’s no Bay Area saxman quite like Howard Wiley, who graduated from Berkeley High’s esteemed jazz program and has been an independent force of nature since. In the mid-aughts, Wiley released \u003cem>TwentyFirstCenturyNegro\u003c/em>, an incredible album whose centerpiece “Big Daddtay’s Boogie” deserves \u003ca href=\"https://www.youtube.com/watch?v=QBweGW7p_60\" target=\"_blank\" rel=\"noopener\">more YouTube views\u003c/a>. Lately, he’s worked with the jazz vocalist Tiffany Austin in an inspired pairing; on Saturday in San Jose, he promises a “Halloween Spectacular.” \u003ca href=\"http://www.cafestritch.com/event/howard-wiley-halloween-spectacular/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11041850\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/grimes-2016-400x247.jpg\" alt=\"Grimes. (Photo: The Fillmore)\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-11041850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/grimes-2016-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/grimes-2016.jpg 636w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Grimes. (Photo: The Fillmore)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Oct. 31 and Sunday, Nov. 1: Grimes at the Fillmore, San Francisco\u003c/strong>. Like Joanna Newsom and Bat for Lashes before her, the electronic pop musician Grimes (neé Clare Boucher, from Montreal) is often branded as an elfin faerie or forest waif or [insert lazy descriptor from the critic’s favorite fantasy novel here]. She’s been \u003ca href=\"http://actuallygrimes.tumblr.com/post/48744769552/i-dont-want-to-have-to-compromise-my-morals-in\" target=\"_blank\" rel=\"noopener\">outspoken about this type of infantilization\u003c/a>, and, as if to kick back, recently started making fantastic \u003ca href=\"https://www.youtube.com/watch?v=vIi57zhDl78\" target=\"_blank\" rel=\"noopener\">out-and-out jams meant for Rihanna\u003c/a>. Her newest video, “\u003ca href=\"https://www.youtube.com/watch?v=Tv9YoYCKNoE\" target=\"_blank\" rel=\"noopener\">Flesh Without Blood\u003c/a>,” is just two days old — a perfect red carpet for her shows at the Fillmore. \u003ca href=\"http://thefillmore.com/event/grimes-with-nicole-dollanganger/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Nov. 1: David Conte’s 60th Birthday Concert, San Francisco Conservatory of Music\u003c/strong>. One of the last students of the great Nadia Boulanger, David Conte is a composer of remarkable tenderness who serves as chair of composition at the San Francisco Conservatory of Music. He’s also turning 60, and he’s celebrating it in style; to wit, with world premieres of his “Sinfonietta for Eleven Instruments” and “American Death Ballads,” as well as 24 preludes and a dance suite by SFCM alumni. The afternoon concert is free. \u003ca href=\"http://calendar.sfcm.edu/index.php?eID=1257\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Halloween, an increasing number of local bands decide to dress up and pretend to be a band they’re not. Over at \u003cem>SF Weekly\u003c/em>, Jessi Phillips has \u003ca href=\"http://www.sfweekly.com/shookdown/2015/10/28/under-the-cover-bands-of-darkness-halloween-tribute-shows-roundup\" target=\"_blank\" rel=\"noopener\">a fine roundup\u003c/a> of these Halloween cover-band shows, including bargain-basement tributes to the Cure, Prince, Devo, Thin Lizzy, Sleater-Kinney, David Bowie, Bikini Kill, the Ramones and many more. \u003c/p>\n\u003cp>But what if your tastes run counter to pure novelty? As usual, there’s more music happening in the Bay Area this weekend than one might know what to do with. Here are our picks — which don’t require a costume for entry.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: Danzig at the San Jose Civic\u003c/strong>. The king of horror-punk doesn’t need to dress up for Halloween — as the former lead singer of the Misfits, Danzig essentially \u003cem>is\u003c/em> Halloween. When he’s not out \u003ca href=\"http://www.stereogum.com/560502/danzig-defends-kitty-litter-pic/news/\" target=\"_blank\" rel=\"noopener\">shopping for kitty litter\u003c/a>, he’s still one of punk’s most captivating, bellowing dramatists. \u003ca href=\"http://www.ticketmaster.com/danzig-san-jose-california-10-29-2015/event/1C004F0FD8DD708D\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11041849\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/KoolKeith-400x235.jpg\" alt=\"Kool Keith. (Photo: Social Hall SF)\" width=\"400\" height=\"235\" class=\"size-thumbnail wp-image-11041849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KoolKeith-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KoolKeith.jpg 678w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kool Keith. (Photo: Social Hall SF)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Oct. 30: Kool Keith at Social Hall SF\u003c/strong>. We’ll be the first to admit that Kool Keith has delivered his share of spotty shows (a particularly phoned-in concert at the Maritime Hall after his epic \u003cem>Black Elvis/Lost in Space\u003c/em> in 1999 still stings), but the twisted genius of the man born Keith Thornton is worth the risk. Styled as a Sun Ra / George Clinton for the 21st century, the producer and rapper is a true American original, here promising “the return of Dr. Octagon,” his 1996 gynecologist alter-ego. \u003ca href=\"http://www.socialhallsf.com/events/detail/281421\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: ROVA Sax Quartet at Center for New Music, San Francisco\u003c/strong>. The ROVA quartet are a Bay Area institution that we often take for granted; in fact, they’re soon journeying on a European tour to bask in the appreciation of overseas audiences. Before they go, Bruce Ackley, Steve Adams, Larry Ochs and Jon Raskin perform compositions both new and decades-old at this intimate space which, along with presenting the city’s most daring new music, nobly gives 100% of the door’s proceeds to the performers. \u003ca href=\"http://centerfornewmusic.com/calendar/rova-sax-quartet-pre-tour-concert/\" 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, Oct. 31: HBK Gang feat. Kehlani at the Warfield, San Francisco\u003c/strong>. Richmond’s homegrown hip-hop collective has already seen hits with Sage the Gemini’s “Red Nose” and “Gas Pedal,” and a steady creative output from rapper Iamsu (who KQED \u003ca href=\"http://ww2.kqed.org/arts/2015/03/24/a-day-in-the-life-with-breakout-bay-area-rappers-hbk-gang/\" target=\"_blank\" rel=\"noopener\">profiled last year\u003c/a>). But there’s no disguising this year’s star: \u003cstrong>Kehlani\u003c/strong>, raised in Oakland and poised on the precipice of stardom. With a huge fan base and a catalog of raw, honest songs, the 20-year-old \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">dazzled us in a sold-out show\u003c/a> earlier this year; this is the second of two sure-to-be-packed nights. \u003ca href=\"http://www.axs.com/events/292473/heartbreak-halloween-featuring-sage-the-gemini-kehlani-iamsu-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: Death at Oakland Metro\u003c/strong>. One of the more surprising comeback stories in recent history belongs to this trio of black brothers from Detroit, whose proto-punk style might have been lost to the dustbin of history were it not for rabid 45 collectors and the good taste of Drag City Records. Now, with three albums and \u003ca href=\"http://drafthousefilms.com/film/a-band-called-death\" target=\"_blank\" rel=\"noopener\">one documentary\u003c/a> to their name, the band has transcended the “Bad Brains before there was Bad Brains” storyline. Hear powerful songs like “\u003ca href=\"https://www.youtube.com/watch?v=rl3FstCc_OY\" target=\"_blank\" rel=\"noopener\">Politicians in My Eyes\u003c/a>” when they come to Jack London Square. \u003ca href=\"http://www.oaklandmetro.org/event/221999\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003cstrong>\u003cbr>\nSaturday, Oct. 31: Howard Wiley at Cafe Stritch, San Jose\u003c/strong>. There’s no Bay Area saxman quite like Howard Wiley, who graduated from Berkeley High’s esteemed jazz program and has been an independent force of nature since. In the mid-aughts, Wiley released \u003cem>TwentyFirstCenturyNegro\u003c/em>, an incredible album whose centerpiece “Big Daddtay’s Boogie” deserves \u003ca href=\"https://www.youtube.com/watch?v=QBweGW7p_60\" target=\"_blank\" rel=\"noopener\">more YouTube views\u003c/a>. Lately, he’s worked with the jazz vocalist Tiffany Austin in an inspired pairing; on Saturday in San Jose, he promises a “Halloween Spectacular.” \u003ca href=\"http://www.cafestritch.com/event/howard-wiley-halloween-spectacular/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11041850\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/grimes-2016-400x247.jpg\" alt=\"Grimes. (Photo: The Fillmore)\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-11041850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/grimes-2016-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/grimes-2016.jpg 636w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Grimes. (Photo: The Fillmore)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Oct. 31 and Sunday, Nov. 1: Grimes at the Fillmore, San Francisco\u003c/strong>. Like Joanna Newsom and Bat for Lashes before her, the electronic pop musician Grimes (neé Clare Boucher, from Montreal) is often branded as an elfin faerie or forest waif or [insert lazy descriptor from the critic’s favorite fantasy novel here]. She’s been \u003ca href=\"http://actuallygrimes.tumblr.com/post/48744769552/i-dont-want-to-have-to-compromise-my-morals-in\" target=\"_blank\" rel=\"noopener\">outspoken about this type of infantilization\u003c/a>, and, as if to kick back, recently started making fantastic \u003ca href=\"https://www.youtube.com/watch?v=vIi57zhDl78\" target=\"_blank\" rel=\"noopener\">out-and-out jams meant for Rihanna\u003c/a>. Her newest video, “\u003ca href=\"https://www.youtube.com/watch?v=Tv9YoYCKNoE\" target=\"_blank\" rel=\"noopener\">Flesh Without Blood\u003c/a>,” is just two days old — a perfect red carpet for her shows at the Fillmore. \u003ca href=\"http://thefillmore.com/event/grimes-with-nicole-dollanganger/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Nov. 1: David Conte’s 60th Birthday Concert, San Francisco Conservatory of Music\u003c/strong>. One of the last students of the great Nadia Boulanger, David Conte is a composer of remarkable tenderness who serves as chair of composition at the San Francisco Conservatory of Music. He’s also turning 60, and he’s celebrating it in style; to wit, with world premieres of his “Sinfonietta for Eleven Instruments” and “American Death Ballads,” as well as 24 preludes and a dance suite by SFCM alumni. The afternoon concert is free. \u003ca href=\"http://calendar.sfcm.edu/index.php?eID=1257\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cheap-date-8-ways-to-get-spooky-yet-frugal-this-week",
"title": "Cheap Date: 8 Ways To Get Spooky (Yet Frugal!) This Week",
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"content": "\u003cp>Fellow broke humans of the Bay Area! How’s your week going so far? Still trying to choose a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/26/dress-up-time-six-costume-ideas-from-the-twisted-minds-of-kqed/\" target=\"_blank\" rel=\"noopener\">Halloween costume\u003c/a>? Stuck in limbo deciding between “\u003ca href=\"http://www.yandy.com/What-Is-The-Color-Dress-Costume.php\" target=\"_blank\" rel=\"noopener\">The Dress\u003c/a>” and “\u003ca href=\"http://www.costumeish.com/products/costumes?utm_medium=cpc&utm_source=googlepla&variant=6464838019\" target=\"_blank\" rel=\"noopener\">Lion Killer Dentist\u003c/a>’’? (Please. Please listen. You’re better than either of those things.)\u003c/p>\n\u003cp>If you are, however, among those choosing to blow this week’s lunch money on, um, a \u003ca href=\"http://www.costumeish.com/collections/adult-costumes/products/deez-nuts-for-president-2016-costume?variant=6693338819\" target=\"_blank\" rel=\"noopener\">Deez Nuts costume\u003c/a>, never fear — here are some places to be this week that won’t break your piggy bank even further.\u003c/p>\n\u003cp>You know the rules: Nothing over $20. BYO fun-sized candy bars (or find a kid and go trick-or-treating, the finest of all penny-pinching holiday traditions). Here’s this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Oct. 28: \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Sugar Skull Decorating for Dia de Los Muertos\u003c/a>, Mountain View. \u003c/strong>Celebrate Day of the Dead by practicing the delicate art of the \u003cem>calavera\u003c/em>, or sugar skull decoration. Young people ages 16 and up are welcome. All you need is a shoebox (or some other way to cart your work of art home) — the Mountain View Public Library will have the rest. \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Free; details \u003c/a>\u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">KALW Presents Kamau Right Now!\u003c/a> at Freight & Salvage, Berkeley. \u003c/strong>The Berkeley comedian known for his whip-smart takes on politics, race relations, and more — all of which he offered to uproarious laughter at The Cooler’s launch party last month — takes the stage in his hometown for a live radio broadcast. \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">$20; details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">Peaches Christ hosts ‘Creatures of the Nightlife’ at the Cal Academy of Sciences\u003c/a>, SF. \u003c/strong>What do you get when you cross San Francisco’s queen of all queens with the spooky side of science? Well, a drag show and costume contest, for one, along with a “haunted hall” of curiosities (like skulls), squid dissection, and monster makeovers. This one’s 21+. $10–$12; \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">Total Trash Halloween Bash at 924 Gilman\u003c/a>, Berkeley. \u003c/strong>If the Bay Area’s seemingly ever-increasing number of squares in suits is getting you down, a solid weekend of punk, rockabilly, and undefinable yet loud-and-screamy retro weirdness is the antidote. Luckily, that’s what Total Trash Productions puts on every year: This kickoff night stars SoCal vets Redd Kross and New Jersey pizza-punk OGs (yes) Personal and the Pizzas. $15; \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">Scissors for Lefty and Fritz Montana\u003c/a> at Bottom of the Hill, SF. \u003c/strong>A night of sweaty, dancey, blues-inflected indie rock from two staples of the local scene, at one of the last pretension-free live music rooms in the city. What’s not to like? $10 – $12; \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">Mystery \u003cem>Mystery Science Theater 3000\u003c/em>\u003c/a> at the New Parkway, Oakland. \u003c/strong>Grab your best pals — be they human or lo-fi, early ’90s robot — and head downtown for a night of riffing, one-liners and sometimes sophomoric, always hilarious commentary, aka the stuff MST3K dreams are made of. Trivia (with prizes!) will reward your knowledge of all things Tom, Crow, and Joel and/or Mike ahead of the episode, which is TBD. (Fingers crossed for\u003ca href=\"https://www.youtube.com/watch?v=7EGwvwX2X44\" target=\"_blank\" rel=\"noopener\"> Rowsdower\u003c/a>.) $8; \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beetlejuice!\u003c/em> Halloween Party\u003c/a> at Virgil’s Sea Room, SF.\u003c/strong> Yes, the sequel’s actually happening — \u003ca href=\"http://variety.com/2015/film/news/beetlejuice-2-sequel-winona-ryder-tim-burton-michael-keaton-1201567607/\" target=\"_blank\" rel=\"noopener\">Winona said so!\u003c/a> — but if you can’t wait that long, put on some Harry Belafonte and calypso-groove your way on over to the patio of this laid-back bar. Costume contest at midnight — bonus points, we’re guessing, for pulling off \u003ca href=\"https://www.youtube.com/watch?v=Fj_inlzsDhQ\" target=\"_blank\" rel=\"noopener\">Shrunken Head Guy\u003c/a>. $3 – $5; \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Nov. 1 – Monday, Nov. 2: Day of the Dead, all over the Bay Area. \u003c/strong>Nurse your post-Halloween hangover with one of the fine processionals and parties taking place in \u003ca href=\"http://www.dayofthedeadsf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a>, \u003ca href=\"http://www.santarosadiadelosmuertos.org/events\" target=\"_blank\" rel=\"noopener\">Santa Rosa\u003c/a> and beyond. Remember, though, this is a holy holiday — traditional Mexican face paint very welcome. Please leave the \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">sexy pizza rat\u003c/a> at home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fellow broke humans of the Bay Area! How’s your week going so far? Still trying to choose a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/26/dress-up-time-six-costume-ideas-from-the-twisted-minds-of-kqed/\" target=\"_blank\" rel=\"noopener\">Halloween costume\u003c/a>? Stuck in limbo deciding between “\u003ca href=\"http://www.yandy.com/What-Is-The-Color-Dress-Costume.php\" target=\"_blank\" rel=\"noopener\">The Dress\u003c/a>” and “\u003ca href=\"http://www.costumeish.com/products/costumes?utm_medium=cpc&utm_source=googlepla&variant=6464838019\" target=\"_blank\" rel=\"noopener\">Lion Killer Dentist\u003c/a>’’? (Please. Please listen. You’re better than either of those things.)\u003c/p>\n\u003cp>If you are, however, among those choosing to blow this week’s lunch money on, um, a \u003ca href=\"http://www.costumeish.com/collections/adult-costumes/products/deez-nuts-for-president-2016-costume?variant=6693338819\" target=\"_blank\" rel=\"noopener\">Deez Nuts costume\u003c/a>, never fear — here are some places to be this week that won’t break your piggy bank even further.\u003c/p>\n\u003cp>You know the rules: Nothing over $20. BYO fun-sized candy bars (or find a kid and go trick-or-treating, the finest of all penny-pinching holiday traditions). Here’s this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Oct. 28: \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Sugar Skull Decorating for Dia de Los Muertos\u003c/a>, Mountain View. \u003c/strong>Celebrate Day of the Dead by practicing the delicate art of the \u003cem>calavera\u003c/em>, or sugar skull decoration. Young people ages 16 and up are welcome. All you need is a shoebox (or some other way to cart your work of art home) — the Mountain View Public Library will have the rest. \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Free; details \u003c/a>\u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">KALW Presents Kamau Right Now!\u003c/a> at Freight & Salvage, Berkeley. \u003c/strong>The Berkeley comedian known for his whip-smart takes on politics, race relations, and more — all of which he offered to uproarious laughter at The Cooler’s launch party last month — takes the stage in his hometown for a live radio broadcast. \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">$20; 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>Thursday, Oct. 29: \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">Peaches Christ hosts ‘Creatures of the Nightlife’ at the Cal Academy of Sciences\u003c/a>, SF. \u003c/strong>What do you get when you cross San Francisco’s queen of all queens with the spooky side of science? Well, a drag show and costume contest, for one, along with a “haunted hall” of curiosities (like skulls), squid dissection, and monster makeovers. This one’s 21+. $10–$12; \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">Total Trash Halloween Bash at 924 Gilman\u003c/a>, Berkeley. \u003c/strong>If the Bay Area’s seemingly ever-increasing number of squares in suits is getting you down, a solid weekend of punk, rockabilly, and undefinable yet loud-and-screamy retro weirdness is the antidote. Luckily, that’s what Total Trash Productions puts on every year: This kickoff night stars SoCal vets Redd Kross and New Jersey pizza-punk OGs (yes) Personal and the Pizzas. $15; \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">Scissors for Lefty and Fritz Montana\u003c/a> at Bottom of the Hill, SF. \u003c/strong>A night of sweaty, dancey, blues-inflected indie rock from two staples of the local scene, at one of the last pretension-free live music rooms in the city. What’s not to like? $10 – $12; \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">Mystery \u003cem>Mystery Science Theater 3000\u003c/em>\u003c/a> at the New Parkway, Oakland. \u003c/strong>Grab your best pals — be they human or lo-fi, early ’90s robot — and head downtown for a night of riffing, one-liners and sometimes sophomoric, always hilarious commentary, aka the stuff MST3K dreams are made of. Trivia (with prizes!) will reward your knowledge of all things Tom, Crow, and Joel and/or Mike ahead of the episode, which is TBD. (Fingers crossed for\u003ca href=\"https://www.youtube.com/watch?v=7EGwvwX2X44\" target=\"_blank\" rel=\"noopener\"> Rowsdower\u003c/a>.) $8; \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beetlejuice!\u003c/em> Halloween Party\u003c/a> at Virgil’s Sea Room, SF.\u003c/strong> Yes, the sequel’s actually happening — \u003ca href=\"http://variety.com/2015/film/news/beetlejuice-2-sequel-winona-ryder-tim-burton-michael-keaton-1201567607/\" target=\"_blank\" rel=\"noopener\">Winona said so!\u003c/a> — but if you can’t wait that long, put on some Harry Belafonte and calypso-groove your way on over to the patio of this laid-back bar. Costume contest at midnight — bonus points, we’re guessing, for pulling off \u003ca href=\"https://www.youtube.com/watch?v=Fj_inlzsDhQ\" target=\"_blank\" rel=\"noopener\">Shrunken Head Guy\u003c/a>. $3 – $5; \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Nov. 1 – Monday, Nov. 2: Day of the Dead, all over the Bay Area. \u003c/strong>Nurse your post-Halloween hangover with one of the fine processionals and parties taking place in \u003ca href=\"http://www.dayofthedeadsf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a>, \u003ca href=\"http://www.santarosadiadelosmuertos.org/events\" target=\"_blank\" rel=\"noopener\">Santa Rosa\u003c/a> and beyond. Remember, though, this is a holy holiday — traditional Mexican face paint very welcome. Please leave the \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">sexy pizza rat\u003c/a> at home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, you will be force-fed lists of \u003ca href=\"http://www.ibtimes.co.uk/halloween-2015-12-satisfyingly-spooky-horror-movies-watch-this-week-1525682\" target=\"_blank\">horror movies to watch\u003c/a>, \u003ca href=\"http://www.ign.com/articles/2015/10/26/18-best-movies-to-watch-on-halloween\" target=\"_blank\">Halloween classics to revisit\u003c/a>, and the ever-unfunny \u003ca href=\"http://whatculture.com/tv/simpsons-10-best-treehouse-horror-episodes.php\" target=\"_blank\">\"Treehouse of Horror\" episodes\u003c/a> from \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Ignore these lists. The Paul Lynde Halloween Special is the only thing worth watching this week.\u003c/p>\n\u003cp>Shot in 1976 and aired exactly once, the hour-long special is a crash course in camp, featuring Paul Lynde, Donny & Marie Osmond and Betty White. Margaret Hamilton reprises her role as the Wicked Witch of the West from \u003cem>The Wizard of Oz\u003c/em>. Florence Henderson sings a disco version of \"That Old Black Magic.\" KISS plays three songs. Paul Lynde is \u003cem>fabulous\u003c/em>. The entire thing is bonkers.\u003c/p>\n\u003cp>Without further ado:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fUOBCWMti1Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P1RFqJv73kM\u003c/p>\n\u003cp>https://youtu.be/L1qFfItfnXY\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gzQS2BcjtOw\u003c/p>\n\u003cp>https://youtu.be/Y9FPY-dMbCI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yes, kids, TV really was once this bizarre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, you will be force-fed lists of \u003ca href=\"http://www.ibtimes.co.uk/halloween-2015-12-satisfyingly-spooky-horror-movies-watch-this-week-1525682\" target=\"_blank\">horror movies to watch\u003c/a>, \u003ca href=\"http://www.ign.com/articles/2015/10/26/18-best-movies-to-watch-on-halloween\" target=\"_blank\">Halloween classics to revisit\u003c/a>, and the ever-unfunny \u003ca href=\"http://whatculture.com/tv/simpsons-10-best-treehouse-horror-episodes.php\" target=\"_blank\">\"Treehouse of Horror\" episodes\u003c/a> from \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Ignore these lists. The Paul Lynde Halloween Special is the only thing worth watching this week.\u003c/p>\n\u003cp>Shot in 1976 and aired exactly once, the hour-long special is a crash course in camp, featuring Paul Lynde, Donny & Marie Osmond and Betty White. Margaret Hamilton reprises her role as the Wicked Witch of the West from \u003cem>The Wizard of Oz\u003c/em>. Florence Henderson sings a disco version of \"That Old Black Magic.\" KISS plays three songs. Paul Lynde is \u003cem>fabulous\u003c/em>. The entire thing is bonkers.\u003c/p>\n\u003cp>Without further ado:\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/fUOBCWMti1Y'\n title='//www.youtube.com/embed/fUOBCWMti1Y'\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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"disqusTitle": "All the Big Words You'll Learn from Joanna Newsom's New Album 'Divers'",
"title": "All the Big Words You'll Learn from Joanna Newsom's New Album 'Divers'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Back in August, I wrote \u003ca href=\"http://ww2.kqed.org/pop/2015/08/10/joanna-newsom-announces-first-album-in-5-years-unveils-sapokanikan-video/\" target=\"_blank\">a breathless post\u003c/a> reporting the news that, after five long years, Joanna Newsom would be releasing new music. \u003cem>Divers\u003c/em> finally hit stores on Friday, but I'm not going to review it. Plenty of people \u003ca href=\"http://ww2.kqed.org/news/2015/10/25/joanna-newsom-returns-with-compelling-complex-divers\" target=\"_blank\">already have\u003c/a>, and quite honestly, my take on it would go something like this: \"Omg, you guys! Omgomgomg.\"\u003c/p>\n\u003cp>So, instead, I'm going to do something useful: compile a Newsomian glossary of all the big words and historical terms you'll glean from this album and later use to seem smart in front of your friends!\u003c/p>\n\u003cfigure id=\"attachment_18735\" class=\"wp-caption aligncenter\" style=\"max-width: 526px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816.jpg\">\u003cimg class=\"size-full wp-image-18735\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816.jpg\" alt=\"The statue that inspired Shelley's sonnet. Photo: Wiki Commons\" width=\"526\" height=\"342\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816.jpg 526w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816-400x260.jpg 400w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The statue that inspired Shelley's sonnet. Photo: \u003ca href=\"https://en.wikipedia.org/wiki/Younger_Memnon#/media/File:Belzoni_memnon_halage_1816.jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ozymandian:\u003c/strong> a reference to Shelley's sonnet \"\u003ca href=\"http://www.online-literature.com/shelley_percy/672/\" target=\"_blank\">Ozymandias\u003c/a>,\" which essentially boils down to \"we're all going to die and be forgotten.\"\u003c/p>\n\u003cp>\u003cstrong>Sapokanikan:\u003c/strong> the name of a Lenape village that was located where Greenwich Village stands today.\u003c/p>\n\u003cp>\u003cstrong>Florry Walker:\u003c/strong> the name of a woman Australian Impressionist Arthur Streeton had an unrequited thing for. \u003ca href=\"http://www.theage.com.au/news/in-depth/a-florry-of-activity/2007/06/12/1181414292500.html?page=fullpage#contentSwap2\" target=\"_blank\">Restorers found\u003c/a> her name etched beneath \u003cem>Spring\u003c/em>, one of his pastoral paintings. And that's not the only cool thing about the artwork; it was shot through with bullets 14 times during a rowdy party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tobias and the Angel\u003c/em>:\u003c/strong> a painting from the 1500s linked to Titian. It was widely\u003ca href=\"http://www.telegraph.co.uk/news/uknews/1498587/Remarkable-Titian-portrait-is-revealed-after-20-year-restoration.html\" target=\"_blank\"> derided by the art world\u003c/a> and its authenticity was questioned. After passing through many hands of unimpressed owners like Tsar Nicholas I, it ended up in a London garage where it weathered the Blitz. Many years later, X-rays revealed Titian's actual work, a portrait of a woman and her child hidden underneath the much-maligned top layer, which turned out to have been painted by one of Titian's pupils.\u003c/p>\n\u003cfigure id=\"attachment_18731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/vangogh1.jpg\">\u003cimg class=\"size-medium wp-image-18731\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/vangogh1-800x450.jpg\" alt=\"Photo: Hidden Masterpieces\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.hiddenmasterpieces.com/van-gogh/\">Hidden Masterpieces\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Patch of Grass\u003c/strong>\u003c/em>: In \"Sapokanikan,\" Joanna sings \"Beneath a patch of grass, her bones the old Dutch master hid.\" She's referring to the painted-over portrait of a peasant woman \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93209918\" target=\"_blank\">scientists discovered\u003c/a> beneath van Gogh's \u003cem>Patch of Grass\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Arion: \u003c/strong>the immortal horse and child (it's complicated) of Demeter, the ancient Greek goddess of the harvest and fertility.\u003c/p>\n\u003cp>\u003cstrong>Rharian:\u003c/strong> a field located in Eleusis, Greece, which was believed to be where the first plot of grain was grown.\u003c/p>\n\u003cfigure id=\"attachment_18742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1.jpg\">\u003cimg class=\"size-medium wp-image-18742\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-800x516.jpg\" alt=\"Photo: Wiki Commons\" width=\"800\" height=\"516\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-800x516.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-400x258.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-1440x929.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-1180x761.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-960x619.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://en.wikipedia.org/wiki/European_nightjar#/media/File:Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_(1885-1897).jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nightjar:\u003c/strong> a type of nocturnal bird that is known for its camouflage, the \"boom\" sound that accompanies its diving, and its torpor (a sort of hibernation to withstand low temperatures and lack of food). Newsom likens their hiding amongst dead leaves and laying eggs in the ground to soldiers trying to stay hidden from the enemy and burying land mines. They used to be called goatsuckers because an ancient myth alleged that nightjars suckled from nanny goats, leading to a lack of milk and blindness.\u003c/p>\n\u003cp>\u003cstrong>Hotdogging:\u003c/strong> to show off; to perform stunts or tricks.\u003c/p>\n\u003cp>\u003cstrong>Potter's field:\u003c/strong> a burial place for unknown or indigent people. Newsom uses the term to describe Washington Square Park, which sits on top of an estimated 20,000 bodies.\u003c/p>\n\u003cfigure id=\"attachment_18733\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear.jpg\">\u003cimg class=\"wp-image-18733\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear-400x506.jpg\" alt=\"Major Mitchel in his pilot gear around 1918. Photo: Wiki Commons\" width=\"250\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear-400x506.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear.jpg 790w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Major Mitchel in his pilot gear around 1918. Photo: \u003ca href=\"https://commons.wikimedia.org/wiki/File:Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear.jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>John Purroy Mitchel: \u003c/strong>the 95th mayor of New York from 1914 to 1917, he was the second youngest to serve and became known as “The Boy Mayor of New York.” After losing a bid for reelection, he joined the Army and died after falling out of a plane due to an unfastened seatbelt during a training exercise.\u003c/p>\n\u003cp>\u003cstrong>Simulacreage:\u003c/strong> a portmanteau of “simulacra” and “acreage.” According to \u003cem>\u003ca href=\"http://www.newyorker.com/magazine/2015/10/26/precious-mettle\" target=\"_blank\">The New Yorker\u003c/a>\u003c/em>, it's \"a coinage previously unknown to Google.\"\u003c/p>\n\u003cp>\u003cstrong>Chabot:\u003c/strong> In \"Waltz of the 101st Lightborn,\" Joanna sings, \"I had a dream that I walked in the garden of Chabot, and those telescope ruins.\" She's referencing the \u003ca href=\"https://en.wikipedia.org/wiki/Chabot_Space_and_Science_Center\" rel=\"nofollow\">Chabot Space and Science Center\u003c/a> in Oakland, California. The observatory's namesake Anthony Chabot worked in mining in Nevada City, California — Joanna's hometown — and invented the first hydraulic mining tool.\u003c/p>\n\u003cfigure id=\"attachment_18730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West.jpg\">\u003cimg class=\"size-medium wp-image-18730\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-800x557.jpg\" alt=\"Tamanend negotiating with William Penn. Photo: Wiki Commons\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-400x278.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-960x668.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamanend negotiating with William Penn. Photo: \u003ca href=\"https://en.wikipedia.org/wiki/Tamanend\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>King Tamanend:\u003c/strong> a 17th century chief of a Lenni-Lenape tribe, best known for his peaceful negotiations with William Penn and other English settlers in Pennsylvania. Called \"the affable\" and a \"Patron Saint of America.\"\u003c/p>\n\u003cp>\u003cstrong>debride:\u003c/strong> \u003cspan class=\"s1\">the removal of damaged tissue or foreign objects from a wound.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>amora obscura:\u003c/strong> a pun on \u003ca href=\"https://en.wikipedia.org/wiki/Camera_obscura\" rel=\"nofollow\">camera obscura\u003c/a>, a predecessor to the modern camera which means \"dark room\" in Latin. She swaps out \"room\" for \"love.\" \u003cem>Camera Obscura\u003c/em> was the original Russian title of Nabokov's \u003cem>Laughter in the Dark\u003c/em>. Newsom\u003ca href=\"http://www.npr.org/2015/10/24/448996970/joanna-newsom-on-nabokov-songwriting-and-music-journalism\" target=\"_blank\"> told NPR\u003c/a> that his work has been a huge influence on her writing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cem>Divers\u003c/em> is out now. \u003ca href=\"http://www.dragcity.com/products/divers\" target=\"_blank\">Buy it\u003c/a>!\u003c/p>\n\n",
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"excerpt": "Here's a Newsomian glossary of all the big words and historical terms you'll glean from this album and later use to seem smart in front of your friends!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in August, I wrote \u003ca href=\"http://ww2.kqed.org/pop/2015/08/10/joanna-newsom-announces-first-album-in-5-years-unveils-sapokanikan-video/\" target=\"_blank\">a breathless post\u003c/a> reporting the news that, after five long years, Joanna Newsom would be releasing new music. \u003cem>Divers\u003c/em> finally hit stores on Friday, but I'm not going to review it. Plenty of people \u003ca href=\"http://ww2.kqed.org/news/2015/10/25/joanna-newsom-returns-with-compelling-complex-divers\" target=\"_blank\">already have\u003c/a>, and quite honestly, my take on it would go something like this: \"Omg, you guys! Omgomgomg.\"\u003c/p>\n\u003cp>So, instead, I'm going to do something useful: compile a Newsomian glossary of all the big words and historical terms you'll glean from this album and later use to seem smart in front of your friends!\u003c/p>\n\u003cfigure id=\"attachment_18735\" class=\"wp-caption aligncenter\" style=\"max-width: 526px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816.jpg\">\u003cimg class=\"size-full wp-image-18735\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816.jpg\" alt=\"The statue that inspired Shelley's sonnet. Photo: Wiki Commons\" width=\"526\" height=\"342\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816.jpg 526w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Belzoni_memnon_halage_1816-400x260.jpg 400w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The statue that inspired Shelley's sonnet. Photo: \u003ca href=\"https://en.wikipedia.org/wiki/Younger_Memnon#/media/File:Belzoni_memnon_halage_1816.jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ozymandian:\u003c/strong> a reference to Shelley's sonnet \"\u003ca href=\"http://www.online-literature.com/shelley_percy/672/\" target=\"_blank\">Ozymandias\u003c/a>,\" which essentially boils down to \"we're all going to die and be forgotten.\"\u003c/p>\n\u003cp>\u003cstrong>Sapokanikan:\u003c/strong> the name of a Lenape village that was located where Greenwich Village stands today.\u003c/p>\n\u003cp>\u003cstrong>Florry Walker:\u003c/strong> the name of a woman Australian Impressionist Arthur Streeton had an unrequited thing for. \u003ca href=\"http://www.theage.com.au/news/in-depth/a-florry-of-activity/2007/06/12/1181414292500.html?page=fullpage#contentSwap2\" target=\"_blank\">Restorers found\u003c/a> her name etched beneath \u003cem>Spring\u003c/em>, one of his pastoral paintings. And that's not the only cool thing about the artwork; it was shot through with bullets 14 times during a rowdy party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tobias and the Angel\u003c/em>:\u003c/strong> a painting from the 1500s linked to Titian. It was widely\u003ca href=\"http://www.telegraph.co.uk/news/uknews/1498587/Remarkable-Titian-portrait-is-revealed-after-20-year-restoration.html\" target=\"_blank\"> derided by the art world\u003c/a> and its authenticity was questioned. After passing through many hands of unimpressed owners like Tsar Nicholas I, it ended up in a London garage where it weathered the Blitz. Many years later, X-rays revealed Titian's actual work, a portrait of a woman and her child hidden underneath the much-maligned top layer, which turned out to have been painted by one of Titian's pupils.\u003c/p>\n\u003cfigure id=\"attachment_18731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/vangogh1.jpg\">\u003cimg class=\"size-medium wp-image-18731\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/vangogh1-800x450.jpg\" alt=\"Photo: Hidden Masterpieces\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/vangogh1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.hiddenmasterpieces.com/van-gogh/\">Hidden Masterpieces\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Patch of Grass\u003c/strong>\u003c/em>: In \"Sapokanikan,\" Joanna sings \"Beneath a patch of grass, her bones the old Dutch master hid.\" She's referring to the painted-over portrait of a peasant woman \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93209918\" target=\"_blank\">scientists discovered\u003c/a> beneath van Gogh's \u003cem>Patch of Grass\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Arion: \u003c/strong>the immortal horse and child (it's complicated) of Demeter, the ancient Greek goddess of the harvest and fertility.\u003c/p>\n\u003cp>\u003cstrong>Rharian:\u003c/strong> a field located in Eleusis, Greece, which was believed to be where the first plot of grain was grown.\u003c/p>\n\u003cfigure id=\"attachment_18742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1.jpg\">\u003cimg class=\"size-medium wp-image-18742\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-800x516.jpg\" alt=\"Photo: Wiki Commons\" width=\"800\" height=\"516\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-800x516.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-400x258.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-1440x929.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-1180x761.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_1885-1897-1-960x619.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://en.wikipedia.org/wiki/European_nightjar#/media/File:Caprimulgus_europaeus_-Coloured_figures_of_the_birds_of_the_British_Islands_(1885-1897).jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nightjar:\u003c/strong> a type of nocturnal bird that is known for its camouflage, the \"boom\" sound that accompanies its diving, and its torpor (a sort of hibernation to withstand low temperatures and lack of food). Newsom likens their hiding amongst dead leaves and laying eggs in the ground to soldiers trying to stay hidden from the enemy and burying land mines. They used to be called goatsuckers because an ancient myth alleged that nightjars suckled from nanny goats, leading to a lack of milk and blindness.\u003c/p>\n\u003cp>\u003cstrong>Hotdogging:\u003c/strong> to show off; to perform stunts or tricks.\u003c/p>\n\u003cp>\u003cstrong>Potter's field:\u003c/strong> a burial place for unknown or indigent people. Newsom uses the term to describe Washington Square Park, which sits on top of an estimated 20,000 bodies.\u003c/p>\n\u003cfigure id=\"attachment_18733\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear.jpg\">\u003cimg class=\"wp-image-18733\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear-400x506.jpg\" alt=\"Major Mitchel in his pilot gear around 1918. Photo: Wiki Commons\" width=\"250\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear-400x506.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear.jpg 790w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Major Mitchel in his pilot gear around 1918. Photo: \u003ca href=\"https://commons.wikimedia.org/wiki/File:Major_John_Purroy_Mitchel_circa_1918_in_his_pilot_gear.jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>John Purroy Mitchel: \u003c/strong>the 95th mayor of New York from 1914 to 1917, he was the second youngest to serve and became known as “The Boy Mayor of New York.” After losing a bid for reelection, he joined the Army and died after falling out of a plane due to an unfastened seatbelt during a training exercise.\u003c/p>\n\u003cp>\u003cstrong>Simulacreage:\u003c/strong> a portmanteau of “simulacra” and “acreage.” According to \u003cem>\u003ca href=\"http://www.newyorker.com/magazine/2015/10/26/precious-mettle\" target=\"_blank\">The New Yorker\u003c/a>\u003c/em>, it's \"a coinage previously unknown to Google.\"\u003c/p>\n\u003cp>\u003cstrong>Chabot:\u003c/strong> In \"Waltz of the 101st Lightborn,\" Joanna sings, \"I had a dream that I walked in the garden of Chabot, and those telescope ruins.\" She's referencing the \u003ca href=\"https://en.wikipedia.org/wiki/Chabot_Space_and_Science_Center\" rel=\"nofollow\">Chabot Space and Science Center\u003c/a> in Oakland, California. The observatory's namesake Anthony Chabot worked in mining in Nevada City, California — Joanna's hometown — and invented the first hydraulic mining tool.\u003c/p>\n\u003cfigure id=\"attachment_18730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West.jpg\">\u003cimg class=\"size-medium wp-image-18730\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-800x557.jpg\" alt=\"Tamanend negotiating with William Penn. Photo: Wiki Commons\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-400x278.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West-960x668.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Treaty_of_Penn_with_Indians_by_Benjamin_West.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamanend negotiating with William Penn. Photo: \u003ca href=\"https://en.wikipedia.org/wiki/Tamanend\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>King Tamanend:\u003c/strong> a 17th century chief of a Lenni-Lenape tribe, best known for his peaceful negotiations with William Penn and other English settlers in Pennsylvania. Called \"the affable\" and a \"Patron Saint of America.\"\u003c/p>\n\u003cp>\u003cstrong>debride:\u003c/strong> \u003cspan class=\"s1\">the removal of damaged tissue or foreign objects from a wound.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>amora obscura:\u003c/strong> a pun on \u003ca href=\"https://en.wikipedia.org/wiki/Camera_obscura\" rel=\"nofollow\">camera obscura\u003c/a>, a predecessor to the modern camera which means \"dark room\" in Latin. She swaps out \"room\" for \"love.\" \u003cem>Camera Obscura\u003c/em> was the original Russian title of Nabokov's \u003cem>Laughter in the Dark\u003c/em>. Newsom\u003ca href=\"http://www.npr.org/2015/10/24/448996970/joanna-newsom-on-nabokov-songwriting-and-music-journalism\" target=\"_blank\"> told NPR\u003c/a> that his work has been a huge influence on her writing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cem>Divers\u003c/em> is out now. \u003ca href=\"http://www.dragcity.com/products/divers\" target=\"_blank\">Buy it\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity",
"headTitle": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450828660/451403477\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A new James Bond movie tends to mean a few things: a new villain, two new Bond girls (one of whom may or may not be painted gold), and — perhaps most dependably — a new song playing behind the opening credits. Fifty years of Bond films has left much music to be analyzed, and the Oxford University Press does just that in a new book called \u003cem>The James Bond Songs: Pop Anthems of Late Capitalism\u003c/em>.\u003c/p>\n\u003cp>NPR’s Scott Simon caught up with the two Stanford University professors who wrote the book: Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music. Hear their conversation at the audio link, and read an edited version below.\u003c/p>\n\u003cp>\u003cstrong>Scott Simon: It seems fair to assert that \u003ca href=\"http://www.npr.org/artists/88186965/dame-shirley-bassey\" target=\"_blank\" rel=\"noopener\">Dame Shirley Bassey\u003c/a>‘s “Goldfinger” remains the best-known Bond theme. Did that song break the mold — or make the mold, I should say?\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11033220\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs-399x600.jpg\" alt='\"The James Bond Songs: Pop Anthems of Late Capitalism\" by Adrian Daub and Charles Kronengold' width=\"399\" height=\"600\" class=\"size-medium wp-image-11033220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The James Bond Songs:\u003cbr>Pop Anthems of Late Capitalism” by Adrian Daub and Charles Kronengold\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adrian Daub:\u003c/strong> It did. This is the song that everybody’s been trying to copy ever since, and it’s the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and on some level you ask, “Is this measuring up to what Shirley Bassey did with ‘Goldfinger’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>One of the things you point out in this book is, some of the best-known recording artists of their time have done a James Bond song — and yet, if you do a greatest hits of that artist, that Bond song is not necessarily there. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Charles Kronengold:\u003c/strong> I think it’s because there are so many constraints put on you when you’re writing a Bond song, or singing a Bond song, that you have to feel yourself compromise — kind of pulled in two or three directions at once. I mean, if you’re a lyricist, having to use a ridiculous word like “Moonraker” or “Thunderball” is not going to make your life any easier or pleasanter. It’s not necessarily going to be your best work, so the records don’t necessarily add up.\u003c/p>\n\u003cp>\u003cstrong>Simon: The first Bond film to star Roger Moore, after the long reign of Sean Connery\u003c/strong>\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003cstrong>,\u003c/strong>\u003cstrong> is\u003c/strong>\u003cstrong> 1973’s \u003cem>\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Live and Let Die\u003c/em>\u003c/strong>\u003cstrong>\u003c/strong>\u003cstrong> — and the title theme is performed by \u003ca href=\"http://www.npr.org/artists/15158238/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney\u003c/a>. Do you think there’s a little bit of composer autobiography in this song?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Yeah, I think it would have been hard to hear that in the mid-’70s — from someone who \u003cem>\u003c/em>\u003cem>used\u003c/em> to say, “Live and let live,” but the world around him changed — and not think of the man at the mic.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Kronengold:\u003c/strong> I mean, being an ex-\u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">Beatle\u003c/a> in 1973 is probably about as weird as being a James Bond who is \u003cem>\u003c/em>\u003cem>not\u003c/em> the guy who was James Bond 10 years earlier. This is Roger Moore, when people are just kind of getting used to the idea that Bond is going to somebody other than Sean Connery. And the idea that Paul McCartney is going to be still around, still making music, but not with The Beatles — what does that mean? Why does he even come to work? Why does he have to do this, and what’s the point of it? And the song brings that out in a really nice way.\u003c/p>\n\u003cp>\u003cstrong>Simon: What do you hear in the newest Bond theme, “Writing on the Wall” by \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\" rel=\"noopener\">Sam Smith\u003c/a>? Menace? Danger? Glamour?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kronengold:\u003c/strong> Well, not enough menace and danger for our taste. It seems like they forgot about the swagger and the bite that the best Bond songs have.\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> At the same time, there’s one part of it that we really like, and it seems to be the one that everyone else hates — which is when you get to the chorus. You know, a Bond song is supposed to play to the rafters; it’s supposed to yell out the word “Goldfinger” over and over and over again. And that’s the thing that Sam Smith, probably having listened back to the canon, decides not to do. The song builds to this amazing crescendo, and then just kind of ends with this whimper.\u003c/p>\n\u003cp>\u003cstrong>Simon: \u003c/strong>\u003cstrong>You say in the book that, in the end, Bond songs are perishable — and that’s OK.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Absolutely. A Bond song, from the very first, says, “I will be here. I will be all over the charts. People will be humming me in elevators or in their cars. And then, you’ll forget about me, and there’ll be another one in two years.” A pop song is supposed to stride on the scene with this sort of cocksure sense of, “This is all there is. This is all you should care about right now.” And Bond songs are very honest with us! They say, “I’m a product tie-in for a movie. Eventually you’ll forget about me, and that’s all right.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Shirley+Bassey+To+Sam+Smith%2C+Bond+Songs+Remain+A+Pop+Oddity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450828660/451403477\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A new James Bond movie tends to mean a few things: a new villain, two new Bond girls (one of whom may or may not be painted gold), and — perhaps most dependably — a new song playing behind the opening credits. Fifty years of Bond films has left much music to be analyzed, and the Oxford University Press does just that in a new book called \u003cem>The James Bond Songs: Pop Anthems of Late Capitalism\u003c/em>.\u003c/p>\n\u003cp>NPR’s Scott Simon caught up with the two Stanford University professors who wrote the book: Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music. Hear their conversation at the audio link, and read an edited version below.\u003c/p>\n\u003cp>\u003cstrong>Scott Simon: It seems fair to assert that \u003ca href=\"http://www.npr.org/artists/88186965/dame-shirley-bassey\" target=\"_blank\" rel=\"noopener\">Dame Shirley Bassey\u003c/a>‘s “Goldfinger” remains the best-known Bond theme. Did that song break the mold — or make the mold, I should say?\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11033220\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs-399x600.jpg\" alt='\"The James Bond Songs: Pop Anthems of Late Capitalism\" by Adrian Daub and Charles Kronengold' width=\"399\" height=\"600\" class=\"size-medium wp-image-11033220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The James Bond Songs:\u003cbr>Pop Anthems of Late Capitalism” by Adrian Daub and Charles Kronengold\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adrian Daub:\u003c/strong> It did. This is the song that everybody’s been trying to copy ever since, and it’s the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and on some level you ask, “Is this measuring up to what Shirley Bassey did with ‘Goldfinger’?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>One of the things you point out in this book is, some of the best-known recording artists of their time have done a James Bond song — and yet, if you do a greatest hits of that artist, that Bond song is not necessarily there. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Charles Kronengold:\u003c/strong> I think it’s because there are so many constraints put on you when you’re writing a Bond song, or singing a Bond song, that you have to feel yourself compromise — kind of pulled in two or three directions at once. I mean, if you’re a lyricist, having to use a ridiculous word like “Moonraker” or “Thunderball” is not going to make your life any easier or pleasanter. It’s not necessarily going to be your best work, so the records don’t necessarily add up.\u003c/p>\n\u003cp>\u003cstrong>Simon: The first Bond film to star Roger Moore, after the long reign of Sean Connery\u003c/strong>\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003cstrong>,\u003c/strong>\u003cstrong> is\u003c/strong>\u003cstrong> 1973’s \u003cem>\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Live and Let Die\u003c/em>\u003c/strong>\u003cstrong>\u003c/strong>\u003cstrong> — and the title theme is performed by \u003ca href=\"http://www.npr.org/artists/15158238/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney\u003c/a>. Do you think there’s a little bit of composer autobiography in this song?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Yeah, I think it would have been hard to hear that in the mid-’70s — from someone who \u003cem>\u003c/em>\u003cem>used\u003c/em> to say, “Live and let live,” but the world around him changed — and not think of the man at the mic.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Kronengold:\u003c/strong> I mean, being an ex-\u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">Beatle\u003c/a> in 1973 is probably about as weird as being a James Bond who is \u003cem>\u003c/em>\u003cem>not\u003c/em> the guy who was James Bond 10 years earlier. This is Roger Moore, when people are just kind of getting used to the idea that Bond is going to somebody other than Sean Connery. And the idea that Paul McCartney is going to be still around, still making music, but not with The Beatles — what does that mean? Why does he even come to work? Why does he have to do this, and what’s the point of it? And the song brings that out in a really nice way.\u003c/p>\n\u003cp>\u003cstrong>Simon: What do you hear in the newest Bond theme, “Writing on the Wall” by \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\" rel=\"noopener\">Sam Smith\u003c/a>? Menace? Danger? Glamour?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kronengold:\u003c/strong> Well, not enough menace and danger for our taste. It seems like they forgot about the swagger and the bite that the best Bond songs have.\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> At the same time, there’s one part of it that we really like, and it seems to be the one that everyone else hates — which is when you get to the chorus. You know, a Bond song is supposed to play to the rafters; it’s supposed to yell out the word “Goldfinger” over and over and over again. And that’s the thing that Sam Smith, probably having listened back to the canon, decides not to do. The song builds to this amazing crescendo, and then just kind of ends with this whimper.\u003c/p>\n\u003cp>\u003cstrong>Simon: \u003c/strong>\u003cstrong>You say in the book that, in the end, Bond songs are perishable — and that’s OK.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Absolutely. A Bond song, from the very first, says, “I will be here. I will be all over the charts. People will be humming me in elevators or in their cars. And then, you’ll forget about me, and there’ll be another one in two years.” A pop song is supposed to stride on the scene with this sort of cocksure sense of, “This is all there is. This is all you should care about right now.” And Bond songs are very honest with us! They say, “I’m a product tie-in for a movie. Eventually you’ll forget about me, and that’s all right.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Shirley+Bassey+To+Sam+Smith%2C+Bond+Songs+Remain+A+Pop+Oddity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Joanna Newsom Returns With Compelling, Complex 'Divers'",
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"content": "\u003cp>\u003ca href=\"http://www.dragcity.com/artists/joanna-newsom\" target=\"_blank\">Joanna Newsom\u003c/a> can be polarizing. Maybe that comes with the territory of being an indie-rock harp player. Some dismiss her as twee and precious, her music as flighty and pretentious, her voice as, well, odd. But there are others who embrace her with loyal devotion for the very same things.\u003c/p>\n\u003cp>Her last album, 2010’s “Have One on Me,” was too much for even some of her most ardent fans, literally. It clocked in at more than two hours, spread over three CDs -- often brilliant, but a lot to take in.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/229805067\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>She’s taken in a lot herself since that album, notably marrying comic actor Andy Sandberg in 2013 and playing the role of the “Earth goddess” narrator in the movie\u003ca href=\"http://www.ew.com/article/2014/12/14/joanna-newsom-inherent-vice\" target=\"_blank\"> “Inherent Vice”\u003c/a> for director \u003ca href=\"http://www.imdb.com/name/nm0000759/\" target=\"_blank\">Paul Thomas Anderson\u003c/a>, a fan and friend. It’s a long way from her Nevada City, California, origins. But rest assured: She hasn’t gone Hollywood. She’s pretty good with a cinematic-level narrative, though.\u003c/p>\n\u003cfigure id=\"attachment_10730288\" class=\"wp-caption alignright\" style=\"max-width: 487px\">\u003cimg class=\" wp-image-10730288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg\" alt=\"Joanna Newsom's "Divers"\" width=\"487\" height=\"487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-75x75.jpg 75w\" sizes=\"(max-width: 487px) 100vw, 487px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom's \"Divers\"\u003c/figcaption>\u003c/figure>\n\u003cp>If the last one was an epic trilogy, her new album, “Divers,” is a compelling, complex novel, clocking in at a much more manageable 52 minutes. It’s still full of unexpected twists and turns, in story and in her ever-evolving, ancient-modern mix of folk and classical-derived styles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She and co-producer \u003ca href=\"https://en.wikipedia.org/wiki/Noah_Georgeson\" target=\"_blank\">Noah Georgeson\u003c/a> continue to show a taste for the unusual and arcane (a chorus of musical saws on one song, “The Things I Say”), but never without artistic impact.\u003c/p>\n\u003cp>“Divers” opens with a war scene, a battle not witnessed directly but reported by scouts, in the song “Anecdotes.” Love is a battlefield? OK, she’s not the first to use that analogy. \u003c/p>\n\u003cp>But there’s an intimacy to the portrayal, a depth of both experience and emotion, expressed equally in words and music, that threads through the shifting scenes and scenarios that unfold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=keke7BGzJPI\u003c/p>\n\u003cp>The most touching, moving moment, perhaps, comes in “Same Old Man,” a traditional folk song in which the singer has returned home from an emotionally painful time in New York. She’s comforted to see the same old woman putting out the wash, the same old man sitting by the mill. Yet the pain remains.\u003c/p>\n\u003cp>[contextly_sidebar id=\"6NMhR7vXdN8CwUujyibzyW98gdmeDObW\"]\u003c/p>\n\u003cp>The title song, with poetically archaic language and an art-song lilt, describes a diver who pops up for air now and then and a woman who watches from a pier. It’s a strange dance of a relationship, but in her telling seems to hold infinite possibilities and magical mysteries within its “rules that bind,” as she sings.\u003c/p>\n\u003cp>The closer, “Time, As a Symptom,” is a song of birth, with a touch of death. Here she and Georgeson outdo themselves, even by the chamber music standards set on earlier albums. With gradually increasing orchestral grandeur — strings and winds and peeling tympani — Newsom’s confident, strong and not-odd voice is joined by chirping birds. Yes, birds! As the music fades, they remain to sing us out, nurtured by nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twee tweets? From Joanna Newsom, it’s a perfect ending.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.dragcity.com/artists/joanna-newsom\" target=\"_blank\">Joanna Newsom\u003c/a> can be polarizing. Maybe that comes with the territory of being an indie-rock harp player. Some dismiss her as twee and precious, her music as flighty and pretentious, her voice as, well, odd. But there are others who embrace her with loyal devotion for the very same things.\u003c/p>\n\u003cp>Her last album, 2010’s “Have One on Me,” was too much for even some of her most ardent fans, literally. It clocked in at more than two hours, spread over three CDs -- often brilliant, but a lot to take in.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/229805067&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/229805067'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She’s taken in a lot herself since that album, notably marrying comic actor Andy Sandberg in 2013 and playing the role of the “Earth goddess” narrator in the movie\u003ca href=\"http://www.ew.com/article/2014/12/14/joanna-newsom-inherent-vice\" target=\"_blank\"> “Inherent Vice”\u003c/a> for director \u003ca href=\"http://www.imdb.com/name/nm0000759/\" target=\"_blank\">Paul Thomas Anderson\u003c/a>, a fan and friend. It’s a long way from her Nevada City, California, origins. But rest assured: She hasn’t gone Hollywood. She’s pretty good with a cinematic-level narrative, though.\u003c/p>\n\u003cfigure id=\"attachment_10730288\" class=\"wp-caption alignright\" style=\"max-width: 487px\">\u003cimg class=\" wp-image-10730288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg\" alt=\"Joanna Newsom's "Divers"\" width=\"487\" height=\"487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/JoannaNewsom_Divers_Mini-75x75.jpg 75w\" sizes=\"(max-width: 487px) 100vw, 487px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom's \"Divers\"\u003c/figcaption>\u003c/figure>\n\u003cp>If the last one was an epic trilogy, her new album, “Divers,” is a compelling, complex novel, clocking in at a much more manageable 52 minutes. It’s still full of unexpected twists and turns, in story and in her ever-evolving, ancient-modern mix of folk and classical-derived styles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She and co-producer \u003ca href=\"https://en.wikipedia.org/wiki/Noah_Georgeson\" target=\"_blank\">Noah Georgeson\u003c/a> continue to show a taste for the unusual and arcane (a chorus of musical saws on one song, “The Things I Say”), but never without artistic impact.\u003c/p>\n\u003cp>“Divers” opens with a war scene, a battle not witnessed directly but reported by scouts, in the song “Anecdotes.” Love is a battlefield? OK, she’s not the first to use that analogy. \u003c/p>\n\u003cp>But there’s an intimacy to the portrayal, a depth of both experience and emotion, expressed equally in words and music, that threads through the shifting scenes and scenarios that unfold.\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/keke7BGzJPI'\n title='//www.youtube.com/embed/keke7BGzJPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most touching, moving moment, perhaps, comes in “Same Old Man,” a traditional folk song in which the singer has returned home from an emotionally painful time in New York. She’s comforted to see the same old woman putting out the wash, the same old man sitting by the mill. Yet the pain remains.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The title song, with poetically archaic language and an art-song lilt, describes a diver who pops up for air now and then and a woman who watches from a pier. It’s a strange dance of a relationship, but in her telling seems to hold infinite possibilities and magical mysteries within its “rules that bind,” as she sings.\u003c/p>\n\u003cp>The closer, “Time, As a Symptom,” is a song of birth, with a touch of death. Here she and Georgeson outdo themselves, even by the chamber music standards set on earlier albums. With gradually increasing orchestral grandeur — strings and winds and peeling tympani — Newsom’s confident, strong and not-odd voice is joined by chirping birds. Yes, birds! As the music fades, they remain to sing us out, nurtured by nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twee tweets? From Joanna Newsom, it’s a perfect ending.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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