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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of heavy bands from San Francisco.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Heavy_Rock_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The term “hard rock” may have taken a serious beating over the last several decades, conjuring up images of slick radio-baiting songs that actually have more in common with soft pop than anything truly rock and roll. That wasn’t always the case. Not only did the heavy, bluesy rock and roll bands of the ’60s and ’70s — including pioneers like SF’s own Blue Cheer — offer some killer tunes, but they also laid substantial groundwork for the emergence of metal, punk, and other rock subgenres in the years to come.\u003c/p>\n\u003cp>While rock and roll has fragmented in the ensuing decades, and a new indie trend seems to appear every few weeks, plenty of emerging San Francisco acts continue to serve up heavy slabs of rock today. Perhaps most impressively, many of them deliver compelling and inventive approaches to back-to-basics sounds. Consider, as one brief example, the self-description provided by \u003cstrong>\u003ca href=\"https://www.facebook.com/WildEyesSF\">Wild Eyes SF\u003c/a>\u003c/strong>: “Blue Cheer kidnaps Tina Turner and ties her to the tracks of the Grand Funk Railroad.”\u003c/p>\n\u003cp>That creativity means that this set of loud, hard, and heavy songs covers a surprising amount of ground. There’s the psych-sludge of \u003cstrong>\u003ca href=\"https://www.facebook.com/lovemoonband\">Love Moon\u003c/a>\u003c/strong> and the primitive pounding of \u003cstrong>\u003ca href=\"https://www.facebook.com/Feral-Ohms-249033581811919/\">Feral Ohms\u003c/a>\u003c/strong>. \u003cstrong>\u003ca href=\"https://www.facebook.com/HotLunchRocks\">Hot Lunch\u003c/a>\u003c/strong> kicks off the set with a shreddy-punk jam from their new self-titled EP; we’ve also included a pummeling number from their recent tourmates in \u003cstrong>\u003ca href=\"https://www.facebook.com/banquetband\">Banquet\u003c/a>\u003c/strong>. And the more psychedelic side of rock is represented by great songs from recent albums by \u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\">Mondo Drag\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/QueenCrescent\">Queen Crescent\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>Regardless of how one tries to define these bands, they all share one common characteristic: for lack of a better or more precise term, they just f@*king \u003cem>rock\u003c/em>. Turn this mix up loud and enjoy!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotLunchRocks\">Hot Lunch\u003c/a>\u003c/strong> – “Slappy Sunday”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Feral-Ohms-249033581811919/\">Feral Ohms\u003c/a>\u003c/strong> – “Super Ape”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lecherousgaze\">Lecherous Gaze\u003c/a>\u003c/strong> – “New Distortion”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/OlderSun\">Older Sun\u003c/a>\u003c/strong> – “Bad Man”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/warcloudiscoming\">War Cloud\u003c/a>\u003c/strong> – “Speed Demon”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/QueenCrescent\">Queen Crescent\u003c/a>\u003c/strong> – “Culture Vulture”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lovemoonband\">Love Moon\u003c/a>\u003c/strong> – “Not With Me”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/WildEyesSF\">Wild Eyes SF\u003c/a>\u003c/strong> – “Amnesia”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/banquetband\">Banquet\u003c/a>\u003c/strong> – “Run To You”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\">Mondo Drag\u003c/a>\u003c/strong> – “Plumajilla”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of heavy bands from San Francisco.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Heavy_Rock_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The term “hard rock” may have taken a serious beating over the last several decades, conjuring up images of slick radio-baiting songs that actually have more in common with soft pop than anything truly rock and roll. That wasn’t always the case. Not only did the heavy, bluesy rock and roll bands of the ’60s and ’70s — including pioneers like SF’s own Blue Cheer — offer some killer tunes, but they also laid substantial groundwork for the emergence of metal, punk, and other rock subgenres in the years to come.\u003c/p>\n\u003cp>While rock and roll has fragmented in the ensuing decades, and a new indie trend seems to appear every few weeks, plenty of emerging San Francisco acts continue to serve up heavy slabs of rock today. Perhaps most impressively, many of them deliver compelling and inventive approaches to back-to-basics sounds. Consider, as one brief example, the self-description provided by \u003cstrong>\u003ca href=\"https://www.facebook.com/WildEyesSF\">Wild Eyes SF\u003c/a>\u003c/strong>: “Blue Cheer kidnaps Tina Turner and ties her to the tracks of the Grand Funk Railroad.”\u003c/p>\n\u003cp>That creativity means that this set of loud, hard, and heavy songs covers a surprising amount of ground. There’s the psych-sludge of \u003cstrong>\u003ca href=\"https://www.facebook.com/lovemoonband\">Love Moon\u003c/a>\u003c/strong> and the primitive pounding of \u003cstrong>\u003ca href=\"https://www.facebook.com/Feral-Ohms-249033581811919/\">Feral Ohms\u003c/a>\u003c/strong>. \u003cstrong>\u003ca href=\"https://www.facebook.com/HotLunchRocks\">Hot Lunch\u003c/a>\u003c/strong> kicks off the set with a shreddy-punk jam from their new self-titled EP; we’ve also included a pummeling number from their recent tourmates in \u003cstrong>\u003ca href=\"https://www.facebook.com/banquetband\">Banquet\u003c/a>\u003c/strong>. And the more psychedelic side of rock is represented by great songs from recent albums by \u003cstrong>\u003ca href=\"https://www.facebook.com/mondodrag\">Mondo Drag\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/QueenCrescent\">Queen Crescent\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>Regardless of how one tries to define these bands, they all share one common characteristic: for lack of a better or more precise term, they just f@*king \u003cem>rock\u003c/em>. Turn this mix up loud and enjoy!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Brontez Purnell is an indie zine maker, trained dancer and queer punk rocker who’s fronted Bay Area bands like Gravy Train!!! and the Younger Lovers.\u003c/p>\n\u003cp>No, let’s try that again. Brontez Purnell is an \u003ci>utterly fearless\u003c/i> indie zine maker, trained dancer and queer punk rocker who’s fronted Bay Area bands like Gravy Train!!! and the Younger Lovers.\u003c/p>\n\u003cp>Inhibition, trepidation, self-suppression . . . these concepts are not part of Purnell’s emotional lexicon. As a result, it’s hard to look away when he’s performing, and hard to stop reading what he pours out across the pages.\u003c/p>\n\u003cp>Brontez grew up gay in Triana, Alabama (population: 400), an experience he describes as “its own specific brand of horror.” There, he began to learn an important lesson: that making art to document one’s experience is also a very effective method for survival.\u003c/p>\n\u003cp>Like so many who’ve navigated tough times in hard places, Purnell is very attached to and in awe of those who came before him. He’s “home” when playing Eli’s Mile High Club in Oakland – pictures of his uncle J.J. Malone, who owned the club when Eli’s was a blues and soul mecca in the ’60s and ’70s, adorn a special photo shrine there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As people of color, as artists, as counter-culturalists, so much of our history gets erased,” Brontez says. “There are times when you just despair.”\u003c/p>\n\u003cp>Those are the times when he’ll call his mother in Alabama. “You’re a black gay male artist in California,” she’ll say. “Somebody prayed for your existence hundreds of years before you were even born.”\u003c/p>\n\u003cp>No wonder he’s not afraid.\u003c/p>\n\u003cp>\u003cem>If you want to hear more from Brontez, listen to \u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\">The Cooler\u003c/a>, a new podcast from \u003ca href=\"http://ww2.kqed.org/pop/\">KQED Pop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/227215941″ 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brontez Purnell is an indie zine maker, trained dancer and queer punk rocker who’s fronted Bay Area bands like Gravy Train!!! and the Younger Lovers.\u003c/p>\n\u003cp>No, let’s try that again. Brontez Purnell is an \u003ci>utterly fearless\u003c/i> indie zine maker, trained dancer and queer punk rocker who’s fronted Bay Area bands like Gravy Train!!! and the Younger Lovers.\u003c/p>\n\u003cp>Inhibition, trepidation, self-suppression . . . these concepts are not part of Purnell’s emotional lexicon. As a result, it’s hard to look away when he’s performing, and hard to stop reading what he pours out across the pages.\u003c/p>\n\u003cp>Brontez grew up gay in Triana, Alabama (population: 400), an experience he describes as “its own specific brand of horror.” There, he began to learn an important lesson: that making art to document one’s experience is also a very effective method for survival.\u003c/p>\n\u003cp>Like so many who’ve navigated tough times in hard places, Purnell is very attached to and in awe of those who came before him. He’s “home” when playing Eli’s Mile High Club in Oakland – pictures of his uncle J.J. Malone, who owned the club when Eli’s was a blues and soul mecca in the ’60s and ’70s, adorn a special photo shrine there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As people of color, as artists, as counter-culturalists, so much of our history gets erased,” Brontez says. “There are times when you just despair.”\u003c/p>\n\u003cp>Those are the times when he’ll call his mother in Alabama. “You’re a black gay male artist in California,” she’ll say. “Somebody prayed for your existence hundreds of years before you were even born.”\u003c/p>\n\u003cp>No wonder he’s not afraid.\u003c/p>\n\u003cp>\u003cem>If you want to hear more from Brontez, listen to \u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\">The Cooler\u003c/a>, a new podcast from \u003ca href=\"http://ww2.kqed.org/pop/\">KQED Pop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/227215941″&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/227215941″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keep Listening: Notes On Turning 40 and Still Seeking Out New Music",
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"content": "\u003cp>Today, you read the words of a man who’s turned 40.\u003c/p>\n\u003cp>In those 40 years, I’ve had girlfriends, dogs, jobs, cars, hangovers, apartments, and friends. I’ve loved baseball, bicycling, cooking, reading, and local history, and especially my wife and daughter.\u003c/p>\n\u003cp>But music… music has always been there.\u003c/p>\n\u003cp>From singing in church every Sunday to taking piano lessons at age five. From playing saxophone in the school band to rifling through my dad’s Beatles records. From buying my first Run-DMC cassettes to making home recordings with my cousin on a Radio Shack mixer. And that’s only before the age of eight.\u003c/p>\n\u003cfigure id=\"attachment_11028547\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/boomboxbeach-600x600.jpg\" alt=\"With my favorite boombox, circa 1984.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11028547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">With my favorite boombox, circa 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>By the age of 10, I was memorizing \u003ca href=\"https://www.youtube.com/watch?v=_Ki1EQHuE6I\" target=\"_blank\" rel=\"noopener\">extended Mozart piano pieces\u003c/a>. By 12, I’d discovered the local \u003ca href=\"http://www.yelp.com/biz/the-last-record-store-santa-rosa\" target=\"_blank\" rel=\"noopener\">independent record store\u003c/a>. By 13, I’d snuck out of the house to see my first show. By 14, I was making punk mixtapes, playing in the marching band, filing scene reports for \u003cem>MaximumRocknRoll\u003c/em> and singing in a barbershop chorus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At 15, I’d started a zine and conducted my first-ever band interview, with Green Day. I’d go on to start my own band at 16, tour the country more times than I can count, and, at 19, begin a 14-year-run working at a \u003ca href=\"http://www.yelp.com/biz/the-last-record-store-santa-rosa\" target=\"_blank\" rel=\"noopener\">terrific independent record store\u003c/a>, regularly ringing up people like Tom Waits. I played in bands, put out records and left on European tours here and there. Occasionally, I wrote about music for the local paper. Mostly I consumed it like it was water.\u003c/p>\n\u003cp>People come and, boy, do people ever go. But music has always been there.\u003c/p>\n\u003cp>In the 10 years since I left the record store for journalism, and especially in the years when I became the conspicuously older-looking person at shows, I’ve often been asked variations on the same question.\u003c/p>\n\u003cp>How in the world do I remain excited about new music?\u003c/p>\n\u003cfigure id=\"attachment_11028548\" class=\"wp-caption alignright\" style=\"max-width: 417px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Typing.jpg\" alt=\"Banging out a zine in my bedroom, in 1991.\" width=\"417\" height=\"281\" class=\"size-full wp-image-11028548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Typing.jpg 417w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Typing-400x270.jpg 400w\" sizes=\"(max-width: 417px) 100vw, 417px\">\u003cfigcaption class=\"wp-caption-text\">Banging out a zine in my bedroom, senior year, 1991.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a valid question. I remember my mom telling me once, “Your favorite music in high school will be your favorite music for the rest of your life.” A \u003ca href=\"http://www.avclub.com/article/new-study-shows-people-stop-listening-new-music-33-218752\" target=\"_blank\" rel=\"noopener\">recent study\u003c/a> of online listening habits found that most people stop listening to new music altogether at age 33. And anecdotally, there’s almost universal evidence of people being stuck in the glory days of their youth when it comes to music.\u003c/p>\n\u003cp>All of those things sound like a curse to me, and not just because I kinda liked the Red Hot Chili Peppers in high school. The curse is: Who wants to listen to the same songs forever? Why would anyone do that to themselves? Who wants to pay increasingly rising ticket prices to see a worse version of AC/DC, the Rolling Stones or U2 in a gigantic arena? \u003c/p>\n\u003cp>I, for one, don’t want to live in that dusty, stagnant world. But more importantly, I see so many incredible people making such exciting music on a daily basis that I can’t help but be inspired by it. Sure, following music is my job — I’ll give you that. But I see other people do this job, write about the music they liked in high school for a few years, and then quit. “I’m too old,” they say.\u003c/p>\n\u003cp>You are not too old.\u003c/p>\n\u003cfigure id=\"attachment_11028549\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/massachusetts-600x600.jpg\" alt=\"On tour somewhere in Massachusetts, 1995.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11028549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts.jpg 863w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">On tour somewhere in Massachusetts, 1995.\u003c/figcaption>\u003c/figure>\n\u003cp>I get it. I understand that now more than ever, the spigot of music is on full blast, and this is not necessarily a good thing. It can get really, really overwhelming when you’re bombarded with surprise albums and video premieres and \u003cem>Late Show\u003c/em> performances and Pitchfork reviews and Fader features and NPR First Listens and a gazillion podcasts. (Hence, the surge in “curators” sorting through it all.) \u003c/p>\n\u003cp>But I also know that new music naturally has less of an impact on one’s brain at 40 than it did at 14. I’ve felt it myself. To combat this, I’ve developed some methods in recent years to preserve my natural curiosity about music. Some of them are simple common sense, and some of them are ridiculous, but they all help. \u003c/p>\n\u003cp>\u003cstrong>See Live Music\u003c/strong>. This is a no-brainer, but even I have to remind myself of it, despite often going to over 100 shows a year. Not only does seeing a show give you a fresh perspective on the music itself, it takes a solitary recorded-music listening experience and makes it communal. I can hear a song 20 times and then forever hear it differently after seeing it played live. \u003c/p>\n\u003cfigure id=\"attachment_11028550\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/LRShifive-800x574.jpg\" alt=\"Working at the Last Record Store, where I spent 14 years absorbing everything.\" width=\"800\" height=\"574\" class=\"size-medium wp-image-11028550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LRShifive.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LRShifive-400x287.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Working at the Last Record Store, where I spent 14 years absorbing everything.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Get Physical\u003c/strong>. Don’t listen solely to digital files. The benefit to a tactile experience with physical media is mentioned in every vinyl- or cassette-revival article for a reason: it’s true. \u003ca href=\"http://www.bohemian.com/northbay/i-still-make-tapes/Content?oid=2172953\" target=\"_blank\" rel=\"noopener\">I still make tapes\u003c/a> for this very reason, but I also buy records constantly. (That record store I quit working at? I still go there three times a week.) Also, CDs are in great supply right now and man, are they cheap. Music shouldn’t arrive beamed into our brains, despite what streaming services try to sell us. If you have a hand in how it’s played, you’re engaging with it on a deeper level. (I don’t recommend going so far as to eat a record, which \u003ca href=\"http://www.bohemian.com/northbay/eating-a-7-inch-record/Content?oid=2180106\" target=\"_blank\" rel=\"noopener\">I actually did once\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Pay for Music\u003c/strong>. I recently led a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">panel at the Commonwealth Club\u003c/a> about the declining value of music in the smartphone age, arguing that easy accessibility has diminished our appreciation for music. It’s the same with getting all your music for free. If your investment in music is zero, you’re less likely to be affected by it. \u003c/p>\n\u003cp>\u003cstrong>Be an Explorer\u003c/strong>. Try listening to crazy styles of music that you think you’d never, ever like. Especially seek out older music that’s new to you, or music from other countries. Just today, I came across 15 boxes of obscure disco 12″ singles at the local junk store and even though I’d probably, when pressed, say “I hate disco,” I left with 20 of them. When you immerse yourself in music that’s outside your usual listening habits, you’re sure to be changed. I listened solely to pop-country radio for a week several years ago and came out of it a better person. \u003c/p>\n\u003cfigure id=\"attachment_11028551\" 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/TheDig-400x600.jpg\" alt=\"It's best to introduce your child to record shopping at an early age, right?\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11028551\">\u003cfigcaption class=\"wp-caption-text\">It’s best to introduce your child to buying records at an early age, right?\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let Music Heal You\u003c/strong>. Those are possibly the most New Age-y four words I have ever typed, but I can’t tell you how many times music has gotten me through breakups, the \u003ca href=\"http://www.bohemian.com/northbay/mother-of-love/Content?oid=2170595\" target=\"_blank\" rel=\"noopener\">deaths of loved ones\u003c/a>, stressful patches at work, periods of depression, being broke, and more. I’ve never had a therapist; I have a record collection instead.\u003c/p>\n\u003cp>\u003cstrong>Interact\u003c/strong>. Find local bands you love and support them directly. Send them messages saying how much you like their music and why. Buy their album from them personally at their merch table. I still have handwritten letters from bands who I wrote to as a teenager, which sounds quaint in this social media age, but it’s a basic approach I keep up today.\u003c/p>\n\u003cp>\u003cstrong>Make Lists\u003c/strong>. I’ve found it valuable to chronicle what you’re listening to in some type of list, or diary, or even the occasional social media posting — because you can look back years later and see a snapshot of your life and assess how you’ve grown. Here’s my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">list from last year\u003c/a>. (And if you really want to dig deep, see my top album lists from the years \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.) It’s OK to be embarrassed by what you once liked, even though you shouldn’t be. You should never feel embarrassed about any music you like, ever.\u003c/p>\n\u003cp>\u003cstrong>Switch Environments\u003c/strong>. I’ve hated albums at home, and then listened to them in the car and fallen in love with them. In the earbud era of today, I still think having a stereo at home is essential, but listening to music while walking, working, exercising, etc. can change the way you hear it completely.\u003c/p>\n\u003cp>\u003cstrong>Share!\u003c/strong> Music is more splintered and fragmented than ever, which is why virtually every conversation about music now \u003ca href=\"https://twitter.com/gmeline/status/520644952179494913\" target=\"_blank\" rel=\"noopener\">sounds like this\u003c/a>. But don’t just talk about music, or text links to friends — actually make time to sit down and play it for each other. Sharing music with others is essential, and justifies our obsession with it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Anyway, here’s to another 40 years, and to keeping an open mind toward whatever unlistenable garbage the kids are listening to when I turn 80. Today, I’m gonna see my dad, hike through the redwoods with my wife, and come home and have a dance party for turning 40. Hey, I’ve got all these new weird disco 12″s, right?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, you read the words of a man who’s turned 40.\u003c/p>\n\u003cp>In those 40 years, I’ve had girlfriends, dogs, jobs, cars, hangovers, apartments, and friends. I’ve loved baseball, bicycling, cooking, reading, and local history, and especially my wife and daughter.\u003c/p>\n\u003cp>But music… music has always been there.\u003c/p>\n\u003cp>From singing in church every Sunday to taking piano lessons at age five. From playing saxophone in the school band to rifling through my dad’s Beatles records. From buying my first Run-DMC cassettes to making home recordings with my cousin on a Radio Shack mixer. And that’s only before the age of eight.\u003c/p>\n\u003cfigure id=\"attachment_11028547\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/boomboxbeach-600x600.jpg\" alt=\"With my favorite boombox, circa 1984.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11028547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/boomboxbeach.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">With my favorite boombox, circa 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>By the age of 10, I was memorizing \u003ca href=\"https://www.youtube.com/watch?v=_Ki1EQHuE6I\" target=\"_blank\" rel=\"noopener\">extended Mozart piano pieces\u003c/a>. By 12, I’d discovered the local \u003ca href=\"http://www.yelp.com/biz/the-last-record-store-santa-rosa\" target=\"_blank\" rel=\"noopener\">independent record store\u003c/a>. By 13, I’d snuck out of the house to see my first show. By 14, I was making punk mixtapes, playing in the marching band, filing scene reports for \u003cem>MaximumRocknRoll\u003c/em> and singing in a barbershop chorus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At 15, I’d started a zine and conducted my first-ever band interview, with Green Day. I’d go on to start my own band at 16, tour the country more times than I can count, and, at 19, begin a 14-year-run working at a \u003ca href=\"http://www.yelp.com/biz/the-last-record-store-santa-rosa\" target=\"_blank\" rel=\"noopener\">terrific independent record store\u003c/a>, regularly ringing up people like Tom Waits. I played in bands, put out records and left on European tours here and there. Occasionally, I wrote about music for the local paper. Mostly I consumed it like it was water.\u003c/p>\n\u003cp>People come and, boy, do people ever go. But music has always been there.\u003c/p>\n\u003cp>In the 10 years since I left the record store for journalism, and especially in the years when I became the conspicuously older-looking person at shows, I’ve often been asked variations on the same question.\u003c/p>\n\u003cp>How in the world do I remain excited about new music?\u003c/p>\n\u003cfigure id=\"attachment_11028548\" class=\"wp-caption alignright\" style=\"max-width: 417px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Typing.jpg\" alt=\"Banging out a zine in my bedroom, in 1991.\" width=\"417\" height=\"281\" class=\"size-full wp-image-11028548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Typing.jpg 417w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Typing-400x270.jpg 400w\" sizes=\"(max-width: 417px) 100vw, 417px\">\u003cfigcaption class=\"wp-caption-text\">Banging out a zine in my bedroom, senior year, 1991.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a valid question. I remember my mom telling me once, “Your favorite music in high school will be your favorite music for the rest of your life.” A \u003ca href=\"http://www.avclub.com/article/new-study-shows-people-stop-listening-new-music-33-218752\" target=\"_blank\" rel=\"noopener\">recent study\u003c/a> of online listening habits found that most people stop listening to new music altogether at age 33. And anecdotally, there’s almost universal evidence of people being stuck in the glory days of their youth when it comes to music.\u003c/p>\n\u003cp>All of those things sound like a curse to me, and not just because I kinda liked the Red Hot Chili Peppers in high school. The curse is: Who wants to listen to the same songs forever? Why would anyone do that to themselves? Who wants to pay increasingly rising ticket prices to see a worse version of AC/DC, the Rolling Stones or U2 in a gigantic arena? \u003c/p>\n\u003cp>I, for one, don’t want to live in that dusty, stagnant world. But more importantly, I see so many incredible people making such exciting music on a daily basis that I can’t help but be inspired by it. Sure, following music is my job — I’ll give you that. But I see other people do this job, write about the music they liked in high school for a few years, and then quit. “I’m too old,” they say.\u003c/p>\n\u003cp>You are not too old.\u003c/p>\n\u003cfigure id=\"attachment_11028549\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/massachusetts-600x600.jpg\" alt=\"On tour somewhere in Massachusetts, 1995.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11028549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/massachusetts.jpg 863w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">On tour somewhere in Massachusetts, 1995.\u003c/figcaption>\u003c/figure>\n\u003cp>I get it. I understand that now more than ever, the spigot of music is on full blast, and this is not necessarily a good thing. It can get really, really overwhelming when you’re bombarded with surprise albums and video premieres and \u003cem>Late Show\u003c/em> performances and Pitchfork reviews and Fader features and NPR First Listens and a gazillion podcasts. (Hence, the surge in “curators” sorting through it all.) \u003c/p>\n\u003cp>But I also know that new music naturally has less of an impact on one’s brain at 40 than it did at 14. I’ve felt it myself. To combat this, I’ve developed some methods in recent years to preserve my natural curiosity about music. Some of them are simple common sense, and some of them are ridiculous, but they all help. \u003c/p>\n\u003cp>\u003cstrong>See Live Music\u003c/strong>. This is a no-brainer, but even I have to remind myself of it, despite often going to over 100 shows a year. Not only does seeing a show give you a fresh perspective on the music itself, it takes a solitary recorded-music listening experience and makes it communal. I can hear a song 20 times and then forever hear it differently after seeing it played live. \u003c/p>\n\u003cfigure id=\"attachment_11028550\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/LRShifive-800x574.jpg\" alt=\"Working at the Last Record Store, where I spent 14 years absorbing everything.\" width=\"800\" height=\"574\" class=\"size-medium wp-image-11028550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LRShifive.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LRShifive-400x287.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Working at the Last Record Store, where I spent 14 years absorbing everything.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Get Physical\u003c/strong>. Don’t listen solely to digital files. The benefit to a tactile experience with physical media is mentioned in every vinyl- or cassette-revival article for a reason: it’s true. \u003ca href=\"http://www.bohemian.com/northbay/i-still-make-tapes/Content?oid=2172953\" target=\"_blank\" rel=\"noopener\">I still make tapes\u003c/a> for this very reason, but I also buy records constantly. (That record store I quit working at? I still go there three times a week.) Also, CDs are in great supply right now and man, are they cheap. Music shouldn’t arrive beamed into our brains, despite what streaming services try to sell us. If you have a hand in how it’s played, you’re engaging with it on a deeper level. (I don’t recommend going so far as to eat a record, which \u003ca href=\"http://www.bohemian.com/northbay/eating-a-7-inch-record/Content?oid=2180106\" target=\"_blank\" rel=\"noopener\">I actually did once\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Pay for Music\u003c/strong>. I recently led a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">panel at the Commonwealth Club\u003c/a> about the declining value of music in the smartphone age, arguing that easy accessibility has diminished our appreciation for music. It’s the same with getting all your music for free. If your investment in music is zero, you’re less likely to be affected by it. \u003c/p>\n\u003cp>\u003cstrong>Be an Explorer\u003c/strong>. Try listening to crazy styles of music that you think you’d never, ever like. Especially seek out older music that’s new to you, or music from other countries. Just today, I came across 15 boxes of obscure disco 12″ singles at the local junk store and even though I’d probably, when pressed, say “I hate disco,” I left with 20 of them. When you immerse yourself in music that’s outside your usual listening habits, you’re sure to be changed. I listened solely to pop-country radio for a week several years ago and came out of it a better person. \u003c/p>\n\u003cfigure id=\"attachment_11028551\" 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/TheDig-400x600.jpg\" alt=\"It's best to introduce your child to record shopping at an early age, right?\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11028551\">\u003cfigcaption class=\"wp-caption-text\">It’s best to introduce your child to buying records at an early age, right?\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let Music Heal You\u003c/strong>. Those are possibly the most New Age-y four words I have ever typed, but I can’t tell you how many times music has gotten me through breakups, the \u003ca href=\"http://www.bohemian.com/northbay/mother-of-love/Content?oid=2170595\" target=\"_blank\" rel=\"noopener\">deaths of loved ones\u003c/a>, stressful patches at work, periods of depression, being broke, and more. I’ve never had a therapist; I have a record collection instead.\u003c/p>\n\u003cp>\u003cstrong>Interact\u003c/strong>. Find local bands you love and support them directly. Send them messages saying how much you like their music and why. Buy their album from them personally at their merch table. I still have handwritten letters from bands who I wrote to as a teenager, which sounds quaint in this social media age, but it’s a basic approach I keep up today.\u003c/p>\n\u003cp>\u003cstrong>Make Lists\u003c/strong>. I’ve found it valuable to chronicle what you’re listening to in some type of list, or diary, or even the occasional social media posting — because you can look back years later and see a snapshot of your life and assess how you’ve grown. Here’s my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">list from last year\u003c/a>. (And if you really want to dig deep, see my top album lists from the years \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.) It’s OK to be embarrassed by what you once liked, even though you shouldn’t be. You should never feel embarrassed about any music you like, ever.\u003c/p>\n\u003cp>\u003cstrong>Switch Environments\u003c/strong>. I’ve hated albums at home, and then listened to them in the car and fallen in love with them. In the earbud era of today, I still think having a stereo at home is essential, but listening to music while walking, working, exercising, etc. can change the way you hear it completely.\u003c/p>\n\u003cp>\u003cstrong>Share!\u003c/strong> Music is more splintered and fragmented than ever, which is why virtually every conversation about music now \u003ca href=\"https://twitter.com/gmeline/status/520644952179494913\" target=\"_blank\" rel=\"noopener\">sounds like this\u003c/a>. But don’t just talk about music, or text links to friends — actually make time to sit down and play it for each other. Sharing music with others is essential, and justifies our obsession with it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, here’s to another 40 years, and to keeping an open mind toward whatever unlistenable garbage the kids are listening to when I turn 80. Today, I’m gonna see my dad, hike through the redwoods with my wife, and come home and have a dance party for turning 40. Hey, I’ve got all these new weird disco 12″s, right?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yesterday, \u003ca href=\"http://www.eonline.com/news/708264/adam-levine-and-maroon-5-in-talks-to-headline-super-bowl-50-halftime-show\" target=\"_blank\">several sources reported\u003c/a> that the wildly commercially successful American band/coven of pop-rock vampires Maroon 5 has been in talks to play the 50th Annual Pepsi Nike Verizon Subway Viagra™ Super Bowl Halftime Show. That's the loud music and dancing and flashy-lights part of the big game with the padded men and the odd-shaped leather ball, as my lady brain understands it!\u003c/p>\n\u003cp>This (not entirely confirmed) choice caught my attention for a few reasons: One, said Super Bowl will be in the Bay Area for the first time in 30 years. This means that Maroon 5, with \u003cem>The Voice\u003c/em> coach/tattooed demon prince of douchebags Adam Levine at the helm, will be spending some time in our fair city. The band members will dine in our restaurants (ostensibly on food, not the blood of the young), and sleep in our hotels with their human supermodel wives.\u003c/p>\n\u003cp>Two, Maroon 5 makes me feel f**cking crazy.\u003c/p>\n\u003cp>There are a handful of exceedingly successful figures or groups in pop culture who fall into this category for me: Artists who have made an unfathomable amount of money (as of March, Levine was worth an estimated $50 million) based on creating a product that seems, as its defining feature, to be almost aggressively boring. Powerfully mediocre. Singularly middle-of-the-road.\u003c/p>\n\u003cp>This is not, mind you, pop music snobbery. On the contrary: I like a lot of pop music, and I find pop musicians fascinating. I will wax poetic about \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium/\" target=\"_blank\">the virtues of Taylor Swift\u003c/a> or Beyonce or Justin Timberlake or, hell, the Backstreet Boys until you walk away from me at a party. (That\u003ca href=\"http://www.imdb.com/title/tt2712154/\" target=\"_blank\"> BSB documentary\u003c/a>, btw, gave me more feelings than I was expecting it to. A discussion, perhaps, for another time.) But this isn't about the cheese factor, nor overproduction, nor cloying melodies, generic songwriting, mathematically-calculated-to-sound-triumphant key changes. In the right context, I can love 'em all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Do you need more proof? For the bulk of summer 2015, I was obsessed with this track, which is the first single off an album by Uncle Ezra Ray, a self-styled \"supergroup\" made up of the Uncle Kracker, the guy from Better Than Ezra, and '90s prince douchebag Mark McGrath of Sugar Ray. \u003cem>Uncle Ezra Ray.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RQqL_QowAto\u003c/p>\n\u003cp>Now, this is an unequivocally terrible song. The lyrics sound like some poorly translated foreign-language film's idea of American Spring Break. The chorus is repetitive and the breakdown is just the instruments dropping out while McGrath says the moronic chorus again but slower. All of these men are well past their primes. But this is a song that has \u003cem>owned\u003c/em> how terrible it is. It knows what it's made of. It's hilariously, entertainingly bad. It's certainly not boring. And that, for me, brings it back around to enjoyable.\u003c/p>\n\u003cp>Compare and contrast with this, please:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fwK7ggA3-bU\u003c/p>\n\u003cp>This is an unequivocally bad song that thinks it's a \u003cem>great\u003c/em> song. It's going for a \"reggae\"-influenced vibe, but has appropriated that style in the blandest possible way, slapped a non-melody on it, announced \"here is our new reggae-influenced song, which is a very good song\" -- and the world somehow buys it. We give them positive reinforcement for it.\u003c/p>\n\u003cp>\"I noticed you borrow the most watered-down aspects of different genres of music and use them to make \u003cem>your\u003c/em> music,\" says the world. \"That makes me feel like I'm hearing something different but also I am not challenged or threatened at all by this very good song!\" As far as I can tell, this is a Maroon 5 trademark of sorts -- not just changing genres frequently, but tapping into genres historically dominated by black artists, stuffing them through their magically bland Wonka-like sausage machine, and squeezing out an impressively dull and very white kind of musical tapioca. This song spent nine weeks on the Billboard Hot 100 in 2012.\u003c/p>\n\u003cp>The beauty of being a music fan -- a consumer of any art, really -- is that people have different tastes, and obviously you're allowed to like whatever the hell you want. What I do not understand: Maroon 5 has had five hit studio records, a singles compilation album, and nine gigantic tours over the course of a dozen years. As of August, they've sold 12.9 million total albums in the U.S. Based on all available evidence, the band is very popular with lots of people, many of whom are happy to pay money for Maroon 5's music, and many of whom will probably be very excited to watch them play the Super Bowl Halftime Show. And yet \u003cem>I've never met a single person who likes Maroon 5.\u003c/em> Meanwhile, Levine's doucheyness has become such a fact of the zeitgeist \u003ca href=\"http://jezebel.com/adam-levines-im-not-a-douche-profile-proves-hes-a-major-1596091413\" target=\"_blank\">that we get blog posts like this\u003c/a>.\u003c/p>\n\u003cp>All of which brings me to the following plea: I would really like to meet a Maroon 5 fan. I'm basically that kid on the side on the road right now, wondering if anyone else has noticed that the emperor has no clothes. Am I completely insane? Are there clothes there, and everyone else can see them but \u003cem>I can't? \u003c/em>\u003c/p>\n\u003cp>As previously indicated, I am no stranger to insipid pop music fandom; I just want to hear this specific situation explained. If you are a person who likes Maroon 5, please email me at \u003ca href=\"mailto:esilvers@kqed.org\">esilvers@kqed.org\u003c/a>. I promise I won't be mean to you. Unless you're Adam Levine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday, \u003ca href=\"http://www.eonline.com/news/708264/adam-levine-and-maroon-5-in-talks-to-headline-super-bowl-50-halftime-show\" target=\"_blank\">several sources reported\u003c/a> that the wildly commercially successful American band/coven of pop-rock vampires Maroon 5 has been in talks to play the 50th Annual Pepsi Nike Verizon Subway Viagra™ Super Bowl Halftime Show. That's the loud music and dancing and flashy-lights part of the big game with the padded men and the odd-shaped leather ball, as my lady brain understands it!\u003c/p>\n\u003cp>This (not entirely confirmed) choice caught my attention for a few reasons: One, said Super Bowl will be in the Bay Area for the first time in 30 years. This means that Maroon 5, with \u003cem>The Voice\u003c/em> coach/tattooed demon prince of douchebags Adam Levine at the helm, will be spending some time in our fair city. The band members will dine in our restaurants (ostensibly on food, not the blood of the young), and sleep in our hotels with their human supermodel wives.\u003c/p>\n\u003cp>Two, Maroon 5 makes me feel f**cking crazy.\u003c/p>\n\u003cp>There are a handful of exceedingly successful figures or groups in pop culture who fall into this category for me: Artists who have made an unfathomable amount of money (as of March, Levine was worth an estimated $50 million) based on creating a product that seems, as its defining feature, to be almost aggressively boring. Powerfully mediocre. Singularly middle-of-the-road.\u003c/p>\n\u003cp>This is not, mind you, pop music snobbery. On the contrary: I like a lot of pop music, and I find pop musicians fascinating. I will wax poetic about \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium/\" target=\"_blank\">the virtues of Taylor Swift\u003c/a> or Beyonce or Justin Timberlake or, hell, the Backstreet Boys until you walk away from me at a party. (That\u003ca href=\"http://www.imdb.com/title/tt2712154/\" target=\"_blank\"> BSB documentary\u003c/a>, btw, gave me more feelings than I was expecting it to. A discussion, perhaps, for another time.) But this isn't about the cheese factor, nor overproduction, nor cloying melodies, generic songwriting, mathematically-calculated-to-sound-triumphant key changes. In the right context, I can love 'em all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Do you need more proof? For the bulk of summer 2015, I was obsessed with this track, which is the first single off an album by Uncle Ezra Ray, a self-styled \"supergroup\" made up of the Uncle Kracker, the guy from Better Than Ezra, and '90s prince douchebag Mark McGrath of Sugar Ray. \u003cem>Uncle Ezra Ray.\u003c/em>\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/RQqL_QowAto'\n title='//www.youtube.com/embed/RQqL_QowAto'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, this is an unequivocally terrible song. The lyrics sound like some poorly translated foreign-language film's idea of American Spring Break. The chorus is repetitive and the breakdown is just the instruments dropping out while McGrath says the moronic chorus again but slower. All of these men are well past their primes. But this is a song that has \u003cem>owned\u003c/em> how terrible it is. It knows what it's made of. It's hilariously, entertainingly bad. It's certainly not boring. And that, for me, brings it back around to enjoyable.\u003c/p>\n\u003cp>Compare and contrast with this, please:\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/fwK7ggA3-bU'\n title='//www.youtube.com/embed/fwK7ggA3-bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is an unequivocally bad song that thinks it's a \u003cem>great\u003c/em> song. It's going for a \"reggae\"-influenced vibe, but has appropriated that style in the blandest possible way, slapped a non-melody on it, announced \"here is our new reggae-influenced song, which is a very good song\" -- and the world somehow buys it. We give them positive reinforcement for it.\u003c/p>\n\u003cp>\"I noticed you borrow the most watered-down aspects of different genres of music and use them to make \u003cem>your\u003c/em> music,\" says the world. \"That makes me feel like I'm hearing something different but also I am not challenged or threatened at all by this very good song!\" As far as I can tell, this is a Maroon 5 trademark of sorts -- not just changing genres frequently, but tapping into genres historically dominated by black artists, stuffing them through their magically bland Wonka-like sausage machine, and squeezing out an impressively dull and very white kind of musical tapioca. This song spent nine weeks on the Billboard Hot 100 in 2012.\u003c/p>\n\u003cp>The beauty of being a music fan -- a consumer of any art, really -- is that people have different tastes, and obviously you're allowed to like whatever the hell you want. What I do not understand: Maroon 5 has had five hit studio records, a singles compilation album, and nine gigantic tours over the course of a dozen years. As of August, they've sold 12.9 million total albums in the U.S. Based on all available evidence, the band is very popular with lots of people, many of whom are happy to pay money for Maroon 5's music, and many of whom will probably be very excited to watch them play the Super Bowl Halftime Show. And yet \u003cem>I've never met a single person who likes Maroon 5.\u003c/em> Meanwhile, Levine's doucheyness has become such a fact of the zeitgeist \u003ca href=\"http://jezebel.com/adam-levines-im-not-a-douche-profile-proves-hes-a-major-1596091413\" target=\"_blank\">that we get blog posts like this\u003c/a>.\u003c/p>\n\u003cp>All of which brings me to the following plea: I would really like to meet a Maroon 5 fan. I'm basically that kid on the side on the road right now, wondering if anyone else has noticed that the emperor has no clothes. Am I completely insane? Are there clothes there, and everyone else can see them but \u003cem>I can't? \u003c/em>\u003c/p>\n\u003cp>As previously indicated, I am no stranger to insipid pop music fandom; I just want to hear this specific situation explained. If you are a person who likes Maroon 5, please email me at \u003ca href=\"mailto:esilvers@kqed.org\">esilvers@kqed.org\u003c/a>. I promise I won't be mean to you. Unless you're Adam Levine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dearest denizens of the \u003ca href=\"http://qz.com/414216/surprising-absolutely-no-one-san-franciscos-rents-are-the-most-expensive-in-the-country/\" target=\"_blank\" rel=\"noopener\">most expensive metropolitan area in the U.S:\u003c/a> How’s your week going? Did you splurge a little over the weekend at \u003ca href=\"http://ww2.kqed.org/arts/2015/10/19/photos-and-highlights-treasure-island-music-festival-2015-day-one/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Fest\u003c/a>? Looking forward to making up for it over the next 7 to 10 days by simply not leaving your house, living on oatmeal you’ve scrounged from the back of your kitchen cabinets? \u003cem>No fun for you. \u003c/em>\u003c/p>\n\u003cp>Well, stop right there. Here’s this week’s \u003cstrong>Cheap Date\u003c/strong>, full of shows, exhibits, and parties, all of which take place outside your house but will not leave you destitute. (You’re welcome.)\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 22: \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">Nobunny at the New Parish, Oakland.\u003c/a> \u003c/strong>He’s weird, he’s vulgar, he’s wearing a bunny mask…and not much else. If you see a guy who fits this description ambling the streets of Oakland, never fear — you’re just encountering a Bay Area punk legend. Not for the faint of heart, a sweaty, guitar hook-filled Nobunny show is one of those you-have-to-see-it-to-understand-it kinda things I’d recommend doing at least once. Well worth the $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Oct. 23: \u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reigning Queens: The Lost Photos of Roz Joseph\u003c/em> at the GLBT History Museum, SF.\u003c/a> \u003c/strong>Get all dolled up and relive the wild and crazy drag balls of 1970s San Francisco through this exhibit featuring photos by a noted photographer, whose drag queen series was discovered after she donated her work to the GLBT Historical Society. This opening party will feature mingling, fabulous costumes, and a disco DJ set, of course.\u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\"> $3 – $5; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 24: \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">JanSport’s Bonfire Sessions with Cathedrals, The She’s, and Heartwatch at the SOMA StrEAT Food Park, SF.\u003c/a>\u003c/strong> Catch three of San Francisco’s buzziest bands — all badass lady-fronted, now that I’m thinking about it — for free, all under the stars (and, um, the 101 overpass) with food and beer options galore. Cathedrals bring a soulful electro vibe; The She’s a more beachy, garage doo-wop ethos; and Heartwatch pure indie rock spunk. \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">Free with RSVP; details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 24: \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">Bollywood at the Castro, SF.\u003c/a> \u003c/strong>The San Francisco International South Asian Film Festival — or 3rd i — features four days packed with dramas, comedies, documentaries, shorts and features from all over India, Pakistan, Sri Lanka and more. But Bollywood night is a perennial favorite for a reason. This year’s includes a screening of the comedy \u003cem>PK\u003c/em>, starring Aamir Khan as “an inquisitive space alien who lands on Earth and shakes up society…deftly poking fun at the foibles of earthlings — especially their warring religions.” \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">$10 – $13; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25: \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Patchwork Show, a Modern Makers’ Festival in Jack London Square, Oakland.\u003c/a> \u003c/strong>Dear Handmade Life is a community of artists, crafters, and builders with one thing in common: They’re hardcore about D-ing It Y. Check out jewelry, furniture, collectibles, decorative art and more from 160+ vendors; food trucks and live music don’t hurt either. \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25:\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\"> Mudhoney, Jonny Manak & the Depressives, and Happy Fangs at Rock Bar, San Jose. \u003c/a>\u003c/strong>One of Sub Pop’s most prescient early signings, Seattle’s Mudhoney helped shape what would come to be known as grunge, mixing heavy, high-distortion guitar with emotive songwriting and and a devil-may-care spirit. Some 25 years later, commercial success has always eluded the band, but their sizable following couldn’t care less. Opener Happy Fangs is one of San Francisco’s finest art-punk residents to boot. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\">$18-$20; details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Are you throwing a thing that is $20 or under? Should I know about it? Email me: \u003ca href=\"mailto:esilvers@kqed.org\">esilvers(at)kqed.org\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dearest denizens of the \u003ca href=\"http://qz.com/414216/surprising-absolutely-no-one-san-franciscos-rents-are-the-most-expensive-in-the-country/\" target=\"_blank\" rel=\"noopener\">most expensive metropolitan area in the U.S:\u003c/a> How’s your week going? Did you splurge a little over the weekend at \u003ca href=\"http://ww2.kqed.org/arts/2015/10/19/photos-and-highlights-treasure-island-music-festival-2015-day-one/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Fest\u003c/a>? Looking forward to making up for it over the next 7 to 10 days by simply not leaving your house, living on oatmeal you’ve scrounged from the back of your kitchen cabinets? \u003cem>No fun for you. \u003c/em>\u003c/p>\n\u003cp>Well, stop right there. Here’s this week’s \u003cstrong>Cheap Date\u003c/strong>, full of shows, exhibits, and parties, all of which take place outside your house but will not leave you destitute. (You’re welcome.)\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 22: \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">Nobunny at the New Parish, Oakland.\u003c/a> \u003c/strong>He’s weird, he’s vulgar, he’s wearing a bunny mask…and not much else. If you see a guy who fits this description ambling the streets of Oakland, never fear — you’re just encountering a Bay Area punk legend. Not for the faint of heart, a sweaty, guitar hook-filled Nobunny show is one of those you-have-to-see-it-to-understand-it kinda things I’d recommend doing at least once. Well worth the $13 – $16; \u003ca href=\"http://thenewparish.com/event.cfm?id=223617\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Oct. 23: \u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reigning Queens: The Lost Photos of Roz Joseph\u003c/em> at the GLBT History Museum, SF.\u003c/a> \u003c/strong>Get all dolled up and relive the wild and crazy drag balls of 1970s San Francisco through this exhibit featuring photos by a noted photographer, whose drag queen series was discovered after she donated her work to the GLBT Historical Society. This opening party will feature mingling, fabulous costumes, and a disco DJ set, of course.\u003ca href=\"https://www.facebook.com/events/1690415291176564/\" target=\"_blank\" rel=\"noopener\"> $3 – $5; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 24: \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">JanSport’s Bonfire Sessions with Cathedrals, The She’s, and Heartwatch at the SOMA StrEAT Food Park, SF.\u003c/a>\u003c/strong> Catch three of San Francisco’s buzziest bands — all badass lady-fronted, now that I’m thinking about it — for free, all under the stars (and, um, the 101 overpass) with food and beer options galore. Cathedrals bring a soulful electro vibe; The She’s a more beachy, garage doo-wop ethos; and Heartwatch pure indie rock spunk. \u003ca href=\"http://jansportbonfiresessions.noisey.com/san-francisco\" target=\"_blank\" rel=\"noopener\">Free with RSVP; 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. 24: \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">Bollywood at the Castro, SF.\u003c/a> \u003c/strong>The San Francisco International South Asian Film Festival — or 3rd i — features four days packed with dramas, comedies, documentaries, shorts and features from all over India, Pakistan, Sri Lanka and more. But Bollywood night is a perennial favorite for a reason. This year’s includes a screening of the comedy \u003cem>PK\u003c/em>, starring Aamir Khan as “an inquisitive space alien who lands on Earth and shakes up society…deftly poking fun at the foibles of earthlings — especially their warring religions.” \u003ca href=\"http://www.eventbrite.com/e/pk-tickets-18622810327?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">$10 – $13; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25: \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Patchwork Show, a Modern Makers’ Festival in Jack London Square, Oakland.\u003c/a> \u003c/strong>Dear Handmade Life is a community of artists, crafters, and builders with one thing in common: They’re hardcore about D-ing It Y. Check out jewelry, furniture, collectibles, decorative art and more from 160+ vendors; food trucks and live music don’t hurt either. \u003ca href=\"http://dearhandmadelife.com/patchwork-show/upcoming-shows/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 25:\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\"> Mudhoney, Jonny Manak & the Depressives, and Happy Fangs at Rock Bar, San Jose. \u003c/a>\u003c/strong>One of Sub Pop’s most prescient early signings, Seattle’s Mudhoney helped shape what would come to be known as grunge, mixing heavy, high-distortion guitar with emotive songwriting and and a devil-may-care spirit. Some 25 years later, commercial success has always eluded the band, but their sizable following couldn’t care less. Opener Happy Fangs is one of San Francisco’s finest art-punk residents to boot. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5836165&pl=rbt\" target=\"_blank\" rel=\"noopener\">$18-$20; details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Are you throwing a thing that is $20 or under? Should I know about it? Email me: \u003ca href=\"mailto:esilvers@kqed.org\">esilvers(at)kqed.org\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>https://www.youtube.com/watch?v=s2YHHIOocxs\u003c/p>\n\u003cp>Last year, some frats boys from Kentucky’s Transylvania University (still a real place) made a viral splash with \u003ca href=\"http://ww2.kqed.org/pop/2014/09/10/hump-day-pick-me-up-frat-boys-lip-dub-to-taylor-swift-shake-it-off/\" target=\"_blank\">their lip dub of Taylor Swift's \"Shake It Off.\" \u003c/a>The video was swiftly (see what I did there?) watched by millions of people. One of them was Tay herself, who tweeted this:\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/510518853412343808?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>Turns out Swift wasn't just being nice. She followed up on her promise and delivered two tickets each to all the Delta Sigma Phi – Beta Mu boys. Instead of taking dates or friends, the guys\u003ca href=\"http://www.wkyt.com/home/headlines/Viral-fraternity-video-leads-to-Taylor-Swift-tickets-for-dozens-of-Kentucky-kids-334913121.html\" target=\"_blank\"> donated all their plus ones\u003c/a> to kids at Big Brothers Big Sisters of the Bluegrass. Before you awwww, there's more: they also used their viral video and popular YouTube channel to raise money for leukemia.\u003c/p>\n\u003cp>So next time you're about to lump all frat boys together and say something mean, just shake it off and do something nice instead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Kate's Daughters, Björk's Brood: Florence, Marina and Christine",
"headTitle": "Kate’s Daughters, Björk’s Brood: Florence, Marina and Christine | KQED",
"content": "\u003cp>Hail Kate, full of grace, these ladies are with thee. Blessed art Björk among singer-songwriters and blessed is the fruit of thy “Homogenic.” Ah-\u003cem>women\u003c/em>. \u003c/p>\n\u003cp>So the prayer might go for Florence Welch of Florence and the Machine, Marina Diamandis of Marina and the Diamonds, and Héloïse Letissier of Christine and the Queens, because the three have more in common than their similar band names. These are the spiritual daughters of Kate Bush and Björk, surfing their own unpredictable waves of eccentric art rock/pop, in the wake of boldly original, feminine forbearers who never shrank from potentially cheesy dance moves or crackling ice samples. This week in the Bay Area, catch, but don’t bottle, the three upstarts’ quicksilver brilliance. \u003c/p>\n\u003cp>What do they share? The first, best adjective for these ladies’ every move is “ambitious.” Their grip on the wild horses of melody is serenely authoritative, their beats frisky, their vocals gusty and oft lusty. Too cool for the Eurovision school, they’ve got their vision goggles in place and all write their own songs. Their penchant for passionate displays is matched only by their knack for movement and performance — snap, go the Danskins, Kate. Their command of the club floor has the potential to twirl Björk’s knobs. \u003c/p>\n\u003cp>Judging from these first-name-basis lasses’ latest music, there’s a songwriter begat by Kate Bush and Björk for every occasion. And you will know them by this handy identification guide… \u003c/p>\n\u003cfigure id=\"attachment_11021750\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg\" alt=\"(Photo: Tom Beard)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Tom Beard)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lush Romantic: Florence and the Machine \u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>How Big, How Blue, How Beautiful\u003c/em> (Island)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Who’s Florence?\u003c/strong>: Florence Welch \u003c/p>\n\u003cp>\u003cstrong>What’s the Machine?\u003c/strong>: It’s a joking nickname for longtime collaborator Isabella Summers — the Machine to Welch’s Robot. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Florence Welch’s pre-Raphaelite profile and flurry of red tresses, flung with drama-class, high-ginger abandon. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: The MTV Video Music Awards 2010, where Flo and the Mach first dropped a swirl of romantic chiffon on mainstream TV audiences. \u003cem>Vogue\u003c/em>. A clamshell on the 2012 Chanel runway, where Welch was cast a singing pearl by Karl Lagerfeld. Blake Lively and Ryan Reynolds’ wedding, for which Welch performed. This spring’s Coachella, where Welch broke her foot. This year’s Glastonbury Festival as the first female-fronted headliner since 1999, according to \u003cem>The Guardian\u003c/em>. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Florence and the Machine’s opulent art-rock got bigger, deeper, and more lavishly detailed with \u003cem>How Big, How Blue, How Beautiful\u003c/em>. Is it a concept LP about LA witchcraft circles, as Welch hinted to \u003cem>NME\u003c/em> this summer? Certainly the title track nudges that notion with lyrics like “Between a crucifix and the Hollywood sign, we decided to get hurt / Now there’s a few things we have to burn,” and bonus demo track “Which Witch.” All allude to womanly power and usher in Biblical, saintly and mythological female icons (the gospel-tinged “Delilah,” “St. Jude”).\u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Well, a writer for MTV Style confessed in 2012, “if there’s anyone who’s a human unicorn besides Björk, it would be [Welch].” Welch also sought out producer Markus Dravs, who helmed Björk’s \u003cem>Homogenic\u003c/em>, because it was such an important recording in her development. Welch’s inspired, rock-operatic “Odyssey” videos for \u003cem>How Big\u003c/em>’s “What Kind of Man,” “Ship to Wreck,” “St. Jude,” “Queen of Peace,” and “Long & Lost” would also make the capering, miming “Wuthering Heights”-era Kate Bush proud. \u003c/p>\n\u003cfigure id=\"attachment_11021752\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg\" alt=\"(Photo: Charlotte Rutherford)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Charlotte Rutherford)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Disco Dark Horse: Marina and the Diamonds\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Froot\u003c/em> (Atlantic)\u003c/p>\n\u003cp>\u003cstrong>Who’s Marina?\u003c/strong>: Marina Diamandis\u003c/p>\n\u003cp>\u003cstrong>Who are the Diamonds?\u003c/strong>: The Welsh singer-songwriter is having a little pun fun with her Greek father’s name. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Style reinvention is the name of the image game for Diamandis, who has gone from brunette to bubblegum pop-tart blond to dark-haired vixen once again. She also can’t resist a cute costume — whether it’s “vintage, cheerleader, cartoon,” she told The Walk. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Wales and Greece, where Diamandis has lived, and a window display for Selfridges in London, which she designed and populated herself as a live mannequin.\u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: “Froot” sees Diamandis dominating the dance floor and skillfully wielding synthpop hooks, all on her own: she wrote all the songs and co-produced with David Kosten, rather than pulling a standard pop move and bringing in a cadre of producers and songwriters. The result echoes with inspirations ranging from David Bowie (“Gold”) to Rihanna (“Weeds”), though shockingly infectious tracks like “I’m a Ruin” and “Better Than That” sound distinctively original — and like well-polished Top 40. \u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Proudly describing herself as feminist, Diamandis owns up to loving Kate Bush and outsider songwriting savant Daniel Johnston as well as Britney Spears and Annie. Her Bush-like video for “I’m a Ruin,” which finds her contorting on a barren plain, does nothing to dispel her potential as a chart-topping weirdnik. She’d also likely don Björk’s swan dress in a honking second. \u003c/p>\n\u003cfigure id=\"attachment_11021757\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg\" alt=\"(Photo: Courtesy Atlantic Records)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Courtesy Atlantic Records)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nimble Gamine: Christine and the Queens\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Christine and the Queens\u003c/em> (Because/Neon Gold/Atlantic; out Oct. 16)\u003c/p>\n\u003cp>\u003cstrong>Who’s Christine?\u003c/strong>: Héloïse Letissier\u003c/p>\n\u003cp>\u003cstrong>Who are the Queens?\u003c/strong>: Inspired by local drag musicians at Madame Jojo’s bar in London’s Soho district, Letissier has been accompanied by trans performers like Russella. Hence, the Queens. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Austere androgynous chic. Read: a no-nonsense lob and androgynous suits and oxfords. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Paris and Nantes, France, where she grew up with a poster of Klaus Nomi on the wall. Videos like the new one for “Paradis Perdus” that refuse to trade on traditional feminine sexuality and instead bury Letissier in a hulking pink suit reminiscent of the stuff in David Byrne’s \u003cem>Stop Making Sense\u003c/em> closet. Tours like her current one with Marina and the Diamonds. The Victoires de la Musique or the French Grammys, where she was named female artist of the year and earned music video of the year for the “Saint Claude” clip. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Hip-hop has left its mark on Letissier’s music with sonic nods to Kanye West, airy and beat-centered arrangements, and agile switch-ups between French and English. Yet the performer sidesteps overt stereotypical aggression in favor of choices that are decidedly more elusive, light-footed, and original. Contributors like Perfume Genius and Tunji Ige keep matters from getting too hermetic.\u003cbr>\n\u003cstrong>\u003cbr>\nHow Bush/Björk are we talking?\u003c/strong>: Letissier’s astral beats tip a hat to Björk, and her irrepressible footwork and quirk-ridden choreography shake a jazz hand at Bush.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Marina and the Diamonds and Christine and the Queens perform Oct. 20–21 at the Fox Theater, 1807 Telegraph Ave., Oakland. 8pm, $35. \u003ca href=\"http://www.apeconcerts.com/event/954787-marina-diamonds-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Florence and the Machine play Oct. 21–22 at the Greek Theatre, UC Berkeley, 2001 Gayley Road, Berkeley. 7pm, $60.50. The Ghost of a Saber Tooth Tiger opens. \u003ca href=\"http://www.apeconcerts.com/event/896787-florence-machine-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The seeds of eccentric brilliance planted by Kate Bush and Björk have grown into a new musical generation of fearlessly creative women.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hail Kate, full of grace, these ladies are with thee. Blessed art Björk among singer-songwriters and blessed is the fruit of thy “Homogenic.” Ah-\u003cem>women\u003c/em>. \u003c/p>\n\u003cp>So the prayer might go for Florence Welch of Florence and the Machine, Marina Diamandis of Marina and the Diamonds, and Héloïse Letissier of Christine and the Queens, because the three have more in common than their similar band names. These are the spiritual daughters of Kate Bush and Björk, surfing their own unpredictable waves of eccentric art rock/pop, in the wake of boldly original, feminine forbearers who never shrank from potentially cheesy dance moves or crackling ice samples. This week in the Bay Area, catch, but don’t bottle, the three upstarts’ quicksilver brilliance. \u003c/p>\n\u003cp>What do they share? The first, best adjective for these ladies’ every move is “ambitious.” Their grip on the wild horses of melody is serenely authoritative, their beats frisky, their vocals gusty and oft lusty. Too cool for the Eurovision school, they’ve got their vision goggles in place and all write their own songs. Their penchant for passionate displays is matched only by their knack for movement and performance — snap, go the Danskins, Kate. Their command of the club floor has the potential to twirl Björk’s knobs. \u003c/p>\n\u003cp>Judging from these first-name-basis lasses’ latest music, there’s a songwriter begat by Kate Bush and Björk for every occasion. And you will know them by this handy identification guide… \u003c/p>\n\u003cfigure id=\"attachment_11021750\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg\" alt=\"(Photo: Tom Beard)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Tom Beard)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lush Romantic: Florence and the Machine \u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>How Big, How Blue, How Beautiful\u003c/em> (Island)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Who’s Florence?\u003c/strong>: Florence Welch \u003c/p>\n\u003cp>\u003cstrong>What’s the Machine?\u003c/strong>: It’s a joking nickname for longtime collaborator Isabella Summers — the Machine to Welch’s Robot. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Florence Welch’s pre-Raphaelite profile and flurry of red tresses, flung with drama-class, high-ginger abandon. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: The MTV Video Music Awards 2010, where Flo and the Mach first dropped a swirl of romantic chiffon on mainstream TV audiences. \u003cem>Vogue\u003c/em>. A clamshell on the 2012 Chanel runway, where Welch was cast a singing pearl by Karl Lagerfeld. Blake Lively and Ryan Reynolds’ wedding, for which Welch performed. This spring’s Coachella, where Welch broke her foot. This year’s Glastonbury Festival as the first female-fronted headliner since 1999, according to \u003cem>The Guardian\u003c/em>. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Florence and the Machine’s opulent art-rock got bigger, deeper, and more lavishly detailed with \u003cem>How Big, How Blue, How Beautiful\u003c/em>. Is it a concept LP about LA witchcraft circles, as Welch hinted to \u003cem>NME\u003c/em> this summer? Certainly the title track nudges that notion with lyrics like “Between a crucifix and the Hollywood sign, we decided to get hurt / Now there’s a few things we have to burn,” and bonus demo track “Which Witch.” All allude to womanly power and usher in Biblical, saintly and mythological female icons (the gospel-tinged “Delilah,” “St. Jude”).\u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Well, a writer for MTV Style confessed in 2012, “if there’s anyone who’s a human unicorn besides Björk, it would be [Welch].” Welch also sought out producer Markus Dravs, who helmed Björk’s \u003cem>Homogenic\u003c/em>, because it was such an important recording in her development. Welch’s inspired, rock-operatic “Odyssey” videos for \u003cem>How Big\u003c/em>’s “What Kind of Man,” “Ship to Wreck,” “St. Jude,” “Queen of Peace,” and “Long & Lost” would also make the capering, miming “Wuthering Heights”-era Kate Bush proud. \u003c/p>\n\u003cfigure id=\"attachment_11021752\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg\" alt=\"(Photo: Charlotte Rutherford)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Charlotte Rutherford)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Disco Dark Horse: Marina and the Diamonds\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Froot\u003c/em> (Atlantic)\u003c/p>\n\u003cp>\u003cstrong>Who’s Marina?\u003c/strong>: Marina Diamandis\u003c/p>\n\u003cp>\u003cstrong>Who are the Diamonds?\u003c/strong>: The Welsh singer-songwriter is having a little pun fun with her Greek father’s name. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Style reinvention is the name of the image game for Diamandis, who has gone from brunette to bubblegum pop-tart blond to dark-haired vixen once again. She also can’t resist a cute costume — whether it’s “vintage, cheerleader, cartoon,” she told The Walk. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Wales and Greece, where Diamandis has lived, and a window display for Selfridges in London, which she designed and populated herself as a live mannequin.\u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: “Froot” sees Diamandis dominating the dance floor and skillfully wielding synthpop hooks, all on her own: she wrote all the songs and co-produced with David Kosten, rather than pulling a standard pop move and bringing in a cadre of producers and songwriters. The result echoes with inspirations ranging from David Bowie (“Gold”) to Rihanna (“Weeds”), though shockingly infectious tracks like “I’m a Ruin” and “Better Than That” sound distinctively original — and like well-polished Top 40. \u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Proudly describing herself as feminist, Diamandis owns up to loving Kate Bush and outsider songwriting savant Daniel Johnston as well as Britney Spears and Annie. Her Bush-like video for “I’m a Ruin,” which finds her contorting on a barren plain, does nothing to dispel her potential as a chart-topping weirdnik. She’d also likely don Björk’s swan dress in a honking second. \u003c/p>\n\u003cfigure id=\"attachment_11021757\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg\" alt=\"(Photo: Courtesy Atlantic Records)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Courtesy Atlantic Records)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nimble Gamine: Christine and the Queens\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Christine and the Queens\u003c/em> (Because/Neon Gold/Atlantic; out Oct. 16)\u003c/p>\n\u003cp>\u003cstrong>Who’s Christine?\u003c/strong>: Héloïse Letissier\u003c/p>\n\u003cp>\u003cstrong>Who are the Queens?\u003c/strong>: Inspired by local drag musicians at Madame Jojo’s bar in London’s Soho district, Letissier has been accompanied by trans performers like Russella. Hence, the Queens. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Austere androgynous chic. Read: a no-nonsense lob and androgynous suits and oxfords. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Paris and Nantes, France, where she grew up with a poster of Klaus Nomi on the wall. Videos like the new one for “Paradis Perdus” that refuse to trade on traditional feminine sexuality and instead bury Letissier in a hulking pink suit reminiscent of the stuff in David Byrne’s \u003cem>Stop Making Sense\u003c/em> closet. Tours like her current one with Marina and the Diamonds. The Victoires de la Musique or the French Grammys, where she was named female artist of the year and earned music video of the year for the “Saint Claude” clip. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Hip-hop has left its mark on Letissier’s music with sonic nods to Kanye West, airy and beat-centered arrangements, and agile switch-ups between French and English. Yet the performer sidesteps overt stereotypical aggression in favor of choices that are decidedly more elusive, light-footed, and original. Contributors like Perfume Genius and Tunji Ige keep matters from getting too hermetic.\u003cbr>\n\u003cstrong>\u003cbr>\nHow Bush/Björk are we talking?\u003c/strong>: Letissier’s astral beats tip a hat to Björk, and her irrepressible footwork and quirk-ridden choreography shake a jazz hand at Bush.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Marina and the Diamonds and Christine and the Queens perform Oct. 20–21 at the Fox Theater, 1807 Telegraph Ave., Oakland. 8pm, $35. \u003ca href=\"http://www.apeconcerts.com/event/954787-marina-diamonds-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Florence and the Machine play Oct. 21–22 at the Greek Theatre, UC Berkeley, 2001 Gayley Road, Berkeley. 7pm, $60.50. The Ghost of a Saber Tooth Tiger opens. \u003ca href=\"http://www.apeconcerts.com/event/896787-florence-machine-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over two decades into their career, Blackalicious are at the top of their game. On \u003cem>Imani Vol. 1\u003c/em>, released last month, producer Chief Xcel’s bass lines and drums explode with the force of a Donkey Kong wind-up punch; strings and pianos zoom in and out in a striking kaleidoscope of color; MC Gift of Gab spits with an agility that makes “\u003ca href=\"https://www.youtube.com/watch?v=w8YM22wqFkw\" target=\"_blank\" rel=\"noopener\">Alphabet Aerobics\u003c/a>” look like child’s play.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/229126011″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Nowhere is their mastery more apparent than on “On Fire Tonight” — a three-minute roller coaster ride of gargantuan horns and some of Gab’s fastest wordplay to date (\u003ca href=\"https://www.youtube.com/watch?v=aKdV5FvXLuI\" target=\"_blank\" rel=\"noopener\">have fun keeping up with this one, Radcliffe\u003c/a>). Listen in as X and Gab discuss their old-school inspirations, rapping so hot they burn down the club, and the perfectionist mentality behind “On Fire Tonight” on this episode of the podcast.\u003c/p>\n\u003cp>And don’t miss \u003ca href=\"http://ww2.kqed.org/news/2015/10/18/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener\">Blackalicious’ recent KQED story on \u003cem>The California Report\u003c/em>\u003c/a>, in which the duo explain how Gab’s recent kidney failure led to a newfound sense of faith and became a major inspiration for their new album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Gift of Gab and Chief Xcel of long-running Bay Area hip-hop duo Blackalicious discuss their new track, 'On Fire Tonight.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over two decades into their career, Blackalicious are at the top of their game. On \u003cem>Imani Vol. 1\u003c/em>, released last month, producer Chief Xcel’s bass lines and drums explode with the force of a Donkey Kong wind-up punch; strings and pianos zoom in and out in a striking kaleidoscope of color; MC Gift of Gab spits with an agility that makes “\u003ca href=\"https://www.youtube.com/watch?v=w8YM22wqFkw\" target=\"_blank\" rel=\"noopener\">Alphabet Aerobics\u003c/a>” look like child’s play.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/229126011″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/229126011″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nowhere is their mastery more apparent than on “On Fire Tonight” — a three-minute roller coaster ride of gargantuan horns and some of Gab’s fastest wordplay to date (\u003ca href=\"https://www.youtube.com/watch?v=aKdV5FvXLuI\" target=\"_blank\" rel=\"noopener\">have fun keeping up with this one, Radcliffe\u003c/a>). Listen in as X and Gab discuss their old-school inspirations, rapping so hot they burn down the club, and the perfectionist mentality behind “On Fire Tonight” on this episode of the podcast.\u003c/p>\n\u003cp>And don’t miss \u003ca href=\"http://ww2.kqed.org/news/2015/10/18/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener\">Blackalicious’ recent KQED story on \u003cem>The California Report\u003c/em>\u003c/a>, in which the duo explain how Gab’s recent kidney failure led to a newfound sense of faith and became a major inspiration for their new album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Photos and Highlights: Treasure Island Music Festival 2015, Day One",
"headTitle": "Photos and Highlights: Treasure Island Music Festival 2015, Day One | KQED",
"content": "\u003cp>The Treasure Island Music Festival returned for a ninth year Saturday, bringing with it a slate of electronic and electronic-inspired artists before Sunday’s indie-rock steeped bill. Here were some of the day’s highlights.\u003c/p>\n\u003cp>\u003cem>Full photo slideshow below.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11020536\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/SHamir1-1180x785.jpg\" alt=\"Shamir at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shamir at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Shamir\u003c/h3>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=Lp9GgdCgMXk\" target=\"_blank\" rel=\"noopener\">On the Regular\u003c/a>” is Shamir’s calling card, a concise electro blast of fun that serves as an operating ethos of not trying too hard to be someone you’re not. Hailing from Las Vegas, a city of superficial veneer if ever there was one, the 20-year-old androgynous singer embodies everything positive about being new to and perhaps a little naive about the music industry, and his approachable nature had a massive crowd only piling on the love. Shamir was born the same week TLC’s \u003cem>CrazySexyCool\u003c/em> was released, and whatever molecules in the universe conspired to make that album such a raw, honest work must have scattered in Shamir’s direction as well. A cover of \u003ca href=\"https://www.youtube.com/watch?v=fenyfqlHfbQ\" target=\"_blank\" rel=\"noopener\">Joyce Manor’s “Christmas Card”\u003c/a> was the day’s biggest unexpected delight, and despite “On the Regular” being featured in an Android commercial, Shamir’s set felt stripped of any hype machine or music industry apparatus — just the new generation championing one of their own. “This song is for all the youthful people of the world!” Shamir said at one point. “Because we’re gonna run the world someday! So this song is for us!”\u003c/p>\n\u003cfigure id=\"attachment_11020526\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FKAwhole-1180x785.jpg\" alt=\"FKA Twigs at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">FKA Twigs at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. FKA Twigs\u003c/h3>\n\u003cp>Tahliah Barnett is a 27 year-old from Gloucestershire who has singlehandedly brought the sonic experiments of late-’90s trip-hop back into the mainstream, and incidentally managed to \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">top my listening habits of 2014\u003c/a>. Barnett’s set was a combination of new material from her \u003cem>M3LL155X\u003c/em> EP and older material, including the compact, brilliant “Water Me,” and though her songs tend to overlap stylistically there’s no denying the unusual musical language being spoken once their hypnotism takes hold. Coy, seductive, mysterious — all these adjectives work in the service of her choreographed stage presence, but Saturday’s set felt looser and less persona-driven than when I \u003ca href=\"http://www.sfweekly.com/shookdown/2014/08/14/fka-twigs-hypnotizes-the-great-american-music-hall-8-13-14\" target=\"_blank\" rel=\"noopener\">saw her at the Great American Music Hall last year\u003c/a>. It’s always exciting to imagine what she’ll do next.\u003c/p>\n\u003cfigure id=\"attachment_11020532\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/KM1-1180x785.jpg\" alt=\"Run the Jewels at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Run the Jewels at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Run the Jewels\u003c/h3>\n\u003cp>I’ve remained immune to the \u003ca href=\"http://www.besteveralbums.com/thechart.php?b=18316\" target=\"_blank\" rel=\"noopener\">pervasive\u003c/a> pedestal-hoisting of this joint project by Killer Mike and EL-P, but no lie, the two delivered a near-perfect set on Saturday. This is the third time I’ve seen them together, and in this sad age of rappers rapping over their own rapping, it is simply so refreshing to be in the presence of expert phrasing and breath control. (Mind you, these are intricate, rapid-fire verses — not the rudimentary “\u003ca href=\"https://youtu.be/I1bbBqnG_cg?t=1m39s\" target=\"_blank\" rel=\"noopener\">bought myself a hat\u003c/a>” lines of yesteryear.) Earlier in the day, the two hung out and chatted with fans in a corner of the festival, and that same we’re-in-this-together vibe ran through their set. Neither of them are from the Bay Area, but all-around national treasure Killer Mike paid respect to \u003ca href=\"http://ww2.kqed.org/arts/2015/02/02/the-jacka-killed-in-oakland-shooting/\" target=\"_blank\" rel=\"noopener\">the Jacka\u003c/a>, a nice touch (he reliably \u003ca href=\"http://citysound.bohemian.com/2012/07/02/live-review-el-p-and-killer-mike-at-the-regency-ballroom/\" target=\"_blank\" rel=\"noopener\">mentions Oscar Grant and Mac Dre\u003c/a> during area shows, too), and near the end of their set, he looked out across the bay. “Everybody look at that perfect body of water over there,” he said. Ever the Abbott to Killer Mike’s Costello, EL-P quickly replied: “I’m from New York, and if that were a New York body of water, your flesh would just burn the moment you touch it.”\u003c/p>\n\u003cfigure id=\"attachment_11020514\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Barry-1180x785.jpg\" alt=\"Barry Rothbart at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barry Rothbart at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Barry Rothbart\u003c/h3>\n\u003cp>One of my annual traditions at the Treasure Island fest is to spend some time at the chain-link fence facing San Francisco, just absorbing the view. (I’m not alone.) I love the array of interactive booths, crafting tables, and weird installations like a payphone where you can talk to God. But for everything that makes the festival so unique, organizers added a comedy tent this year, seeming to bend toward a prevailing trend. We caught Barry Rothbart, who cracked wise in a stream-of-consciousness style about grandmothers, the drought, “dad bods” and Burger King while his DJ flitted from “Shimmy Shimmy Ya” to \u003cem>Close Encounters of the Third Kind\u003c/em> to “Born in the USA.” The whole thing worked in a strange, stoned way, and the fact that the comedy tent opened westward for that million-dollar view was a definite plus.\u003c/p>\n\u003cfigure id=\"attachment_11020527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/GC-1180x785.jpg\" alt=\"Gorgon City at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gorgon City at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Gorgon City\u003c/h3>\n\u003cp>A great aspect of the Treasure Island fest is the way the lineup is split between electronic and indie rock acts, and historically, Saturday’s electronic offerings have featured at least one left-field pick that’s a little on the noisy, abrasive or experimental side. Four Tet filled this role one memorable year, and Amon Tobin’s set in another year served the same purpose. There wasn’t really any artist this year that \u003cem>confused\u003c/em> people, which I recognize is a funny thing to wish. But if Autechre, who’d played a show the night before at the Mezzanine, had been available to play on Saturday, it would have broken up a continual smoothness. All this is to say that Gorgon City were great, despite being the perfect thing to play over the speakers at dinnertime if you owned an Asian-fusion restaurant in Healdsburg. Hear for yourself \u003ca href=\"https://www.youtube.com/watch?v=LvMDjFIMn9k\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11020524,11020518,11020512,11020527,11020542,11020536,11020534,11020528,11020514,11020525,11020515,11020529,11020516,11020513,11020517,11020520,11020538,11020522,11020511,11020523,11020526,11020519,11020530,11020521,11020532,11020533,11020535,11020537,11020539,11020543,11020531,11020541,11020540\"]\u003c/p>\n\n",
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"excerpt": "A slate of big names and up-and-comers in the electronic-music field transformed Treasure Island into a giant party on Saturday; see a slideshow of images and read our highlights of the lineup.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Treasure Island Music Festival returned for a ninth year Saturday, bringing with it a slate of electronic and electronic-inspired artists before Sunday’s indie-rock steeped bill. Here were some of the day’s highlights.\u003c/p>\n\u003cp>\u003cem>Full photo slideshow below.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11020536\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/SHamir1-1180x785.jpg\" alt=\"Shamir at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/SHamir1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shamir at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Shamir\u003c/h3>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=Lp9GgdCgMXk\" target=\"_blank\" rel=\"noopener\">On the Regular\u003c/a>” is Shamir’s calling card, a concise electro blast of fun that serves as an operating ethos of not trying too hard to be someone you’re not. Hailing from Las Vegas, a city of superficial veneer if ever there was one, the 20-year-old androgynous singer embodies everything positive about being new to and perhaps a little naive about the music industry, and his approachable nature had a massive crowd only piling on the love. Shamir was born the same week TLC’s \u003cem>CrazySexyCool\u003c/em> was released, and whatever molecules in the universe conspired to make that album such a raw, honest work must have scattered in Shamir’s direction as well. A cover of \u003ca href=\"https://www.youtube.com/watch?v=fenyfqlHfbQ\" target=\"_blank\" rel=\"noopener\">Joyce Manor’s “Christmas Card”\u003c/a> was the day’s biggest unexpected delight, and despite “On the Regular” being featured in an Android commercial, Shamir’s set felt stripped of any hype machine or music industry apparatus — just the new generation championing one of their own. “This song is for all the youthful people of the world!” Shamir said at one point. “Because we’re gonna run the world someday! So this song is for us!”\u003c/p>\n\u003cfigure id=\"attachment_11020526\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FKAwhole-1180x785.jpg\" alt=\"FKA Twigs at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FKAwhole-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">FKA Twigs at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. FKA Twigs\u003c/h3>\n\u003cp>Tahliah Barnett is a 27 year-old from Gloucestershire who has singlehandedly brought the sonic experiments of late-’90s trip-hop back into the mainstream, and incidentally managed to \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">top my listening habits of 2014\u003c/a>. Barnett’s set was a combination of new material from her \u003cem>M3LL155X\u003c/em> EP and older material, including the compact, brilliant “Water Me,” and though her songs tend to overlap stylistically there’s no denying the unusual musical language being spoken once their hypnotism takes hold. Coy, seductive, mysterious — all these adjectives work in the service of her choreographed stage presence, but Saturday’s set felt looser and less persona-driven than when I \u003ca href=\"http://www.sfweekly.com/shookdown/2014/08/14/fka-twigs-hypnotizes-the-great-american-music-hall-8-13-14\" target=\"_blank\" rel=\"noopener\">saw her at the Great American Music Hall last year\u003c/a>. It’s always exciting to imagine what she’ll do next.\u003c/p>\n\u003cfigure id=\"attachment_11020532\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/KM1-1180x785.jpg\" alt=\"Run the Jewels at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/KM1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Run the Jewels at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Run the Jewels\u003c/h3>\n\u003cp>I’ve remained immune to the \u003ca href=\"http://www.besteveralbums.com/thechart.php?b=18316\" target=\"_blank\" rel=\"noopener\">pervasive\u003c/a> pedestal-hoisting of this joint project by Killer Mike and EL-P, but no lie, the two delivered a near-perfect set on Saturday. This is the third time I’ve seen them together, and in this sad age of rappers rapping over their own rapping, it is simply so refreshing to be in the presence of expert phrasing and breath control. (Mind you, these are intricate, rapid-fire verses — not the rudimentary “\u003ca href=\"https://youtu.be/I1bbBqnG_cg?t=1m39s\" target=\"_blank\" rel=\"noopener\">bought myself a hat\u003c/a>” lines of yesteryear.) Earlier in the day, the two hung out and chatted with fans in a corner of the festival, and that same we’re-in-this-together vibe ran through their set. Neither of them are from the Bay Area, but all-around national treasure Killer Mike paid respect to \u003ca href=\"http://ww2.kqed.org/arts/2015/02/02/the-jacka-killed-in-oakland-shooting/\" target=\"_blank\" rel=\"noopener\">the Jacka\u003c/a>, a nice touch (he reliably \u003ca href=\"http://citysound.bohemian.com/2012/07/02/live-review-el-p-and-killer-mike-at-the-regency-ballroom/\" target=\"_blank\" rel=\"noopener\">mentions Oscar Grant and Mac Dre\u003c/a> during area shows, too), and near the end of their set, he looked out across the bay. “Everybody look at that perfect body of water over there,” he said. Ever the Abbott to Killer Mike’s Costello, EL-P quickly replied: “I’m from New York, and if that were a New York body of water, your flesh would just burn the moment you touch it.”\u003c/p>\n\u003cfigure id=\"attachment_11020514\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Barry-1180x785.jpg\" alt=\"Barry Rothbart at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Barry-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barry Rothbart at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Barry Rothbart\u003c/h3>\n\u003cp>One of my annual traditions at the Treasure Island fest is to spend some time at the chain-link fence facing San Francisco, just absorbing the view. (I’m not alone.) I love the array of interactive booths, crafting tables, and weird installations like a payphone where you can talk to God. But for everything that makes the festival so unique, organizers added a comedy tent this year, seeming to bend toward a prevailing trend. We caught Barry Rothbart, who cracked wise in a stream-of-consciousness style about grandmothers, the drought, “dad bods” and Burger King while his DJ flitted from “Shimmy Shimmy Ya” to \u003cem>Close Encounters of the Third Kind\u003c/em> to “Born in the USA.” The whole thing worked in a strange, stoned way, and the fact that the comedy tent opened westward for that million-dollar view was a definite plus.\u003c/p>\n\u003cfigure id=\"attachment_11020527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/GC-1180x785.jpg\" alt=\"Gorgon City at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"426\" class=\"size-large wp-image-11020527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/GC-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gorgon City at the Treasure Island Music Festival. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Gorgon City\u003c/h3>\n\u003cp>A great aspect of the Treasure Island fest is the way the lineup is split between electronic and indie rock acts, and historically, Saturday’s electronic offerings have featured at least one left-field pick that’s a little on the noisy, abrasive or experimental side. Four Tet filled this role one memorable year, and Amon Tobin’s set in another year served the same purpose. There wasn’t really any artist this year that \u003cem>confused\u003c/em> people, which I recognize is a funny thing to wish. But if Autechre, who’d played a show the night before at the Mezzanine, had been available to play on Saturday, it would have broken up a continual smoothness. All this is to say that Gorgon City were great, despite being the perfect thing to play over the speakers at dinnertime if you owned an Asian-fusion restaurant in Healdsburg. Hear for yourself \u003ca href=\"https://www.youtube.com/watch?v=LvMDjFIMn9k\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you didn’t know that \u003ca href=\"http://www.npr.org/artists/161430476/ty-segall\">Ty Segall\u003c/a> had spent a good chunk of 2015 on tour, you might think the prolific Bay Area garage-glam wunderkind had gone into hiding. Apart from a solo EP earlier this year, Segall’s efforts this year have mostly been behind the boards, as he’s produced records for Peacers and Birth Defects. With a new Fuzz album, though, Segall is back in the spotlight, playing drums with his power trio of guitarist Charlie Moothart (Moonhearts) and bassist Chad Ubovich (\u003ca href=\"http://www.npr.org/event/music/381570823/kexp-presents-meatbodies\">Meatbodies\u003c/a>). This time around, he heaves forth an impressive 14-song double album made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year’s \u003cem>Manipulator\u003c/em> had turned to ash.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2015/10/14/444448267/first-listen-fuzz-ii\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>Listen to Fuzz’s ‘II’ at NPR.\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Once again, Segall and his cohorts are ushered out of the garage; this is music meant to be played at a volume walls can’t contain. Fuzz’s namesake is no joke, either — this is proto-metal, anvil-head blues-rock, thick like cement about to harden. \u003cem>II\u003c/em> vacillates between blunt-force heaviness and a slightly trippier variant, but the pall of doom is cast all over it, making it Segall’s darkest record in a good long time. He’s got an athletic presence on the drums, with a pingy snare sound that captures how hard he hits, but his faux-Brit glam vocals can’t mask the darkness as he brings to mind a young \u003ca href=\"http://www.npr.org/artists/124120879/ozzy-osbourne\">Ozzy Osbourne\u003c/a>. “Bringer Of Light” and “Pipe” sound like they should be reverberating across a Hammer horror castle in the chill of late November, as Moothart and Ubovich flex their instrumental muscle, sounding for all the world like a diesel freighter downshifting.\u003c/p>\n\u003cp>Still, Fuzz recognizes the powers of restraint. Follow the 14-minute title track to its core, and instead of meandering off into drum solos and other diversions, the three simply opt to get low. The riffs are still there, of course, but this time they’re engineered to pull you into the shadows. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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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"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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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"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"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"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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"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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"id": "latino-usa",
"title": "Latino USA",
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"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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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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