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"content": "\u003cp>One of the queens of the original Riot Grrrl scene, Carrie Brownstein of Sleater-Kinney, came through the Bay Area this week on tour to promote \u003ca href=\"http://ww2.kqed.org/arts/2015/11/01/from-the-margins-to-the-mainstream-carrie-brownsteins-hunger-makes-me-a-modern-girl/\" target=\"_blank\" rel=\"noopener\">her new memoir\u003c/a>, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>. She might be known mainly as a writer and actor now — she’s a star on the hit comedy show \u003ci>Portlandia\u003c/i> — but she’s still playing rock ‘n’ roll with Sleater-Kinney, who released a \u003ca href=\"http://pitchfork.com/reviews/albums/20148-no-cities-to-love/\" target=\"_blank\" rel=\"noopener\">new album called \u003ci>No Cities To Love\u003c/i> this year\u003c/a>.\u003c/p>\n\u003cp>Though her Olympia-bred trio stands as one of the best all-female rock bands to ever grace a stage, they certainly weren’t the first — nor will they be the last. As a matter of fact, some of the most rocking all-girl groups have come from the Bay Area, and Brownstein’s victory lap through the city is the perfect reason to celebrate them. Below are seven Bay Area-born bands that helped destroy the myth of rock as a club for boys only.\u003c/p>\n\u003ch2>The Donnas\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=AlbSiEoZlsI\u003c/p>\n\u003cp>Straight outta Palo Alto, The Donnas are definitely the most well-known band on this list: Not only did they score a record deal with a major label (Atlantic Records), they made their way onto several movie and video game soundtracks, with band members even appearing in the 1999 teen comedy \u003ci>Drive Me Crazy\u003c/i> as their alter egos, the Electrocutes. Though the majority of their song catalog represented their love of ’70s hard rock and ’80s glam metal, their early releases were buzzsaw punk rock — records so good they deserve a spot next to the Ramones’ first three albums on punk’s Mount Rushmore.\u003c/p>\n\u003ch2>Tribe 8\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=vn56w4EObwo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tribe 8 isn’t notable just because they were a group of rockers who gave the grunge bands of the early ’90s a run for their money. They were also proud lesbians who are credited as being one of the first “Queercore” bands, members of a genre that would help smash the prevailing homophobia within the American hardcore scene. Their impact can not be ignored, and their epic live shows, which typically featured lead singer Lynn Breedlove topless, will not be forgotten. (You can learn more about the band by watching the award-winning 2003 documentary \u003ci>Rise Above: A Tribe 8 Documentary.\u003c/i>)\u003c/p>\n\u003ch2>Spitboy\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XXWBwl5liRc\u003c/p>\n\u003cp>While the hardcore scene was obviously male-dominated, an even bigger boys’ club was the ’90s anarcho-punk scene that included groups like Aus Rotten and Disrupt and Resist. Spitboy were a shining light among the black clothing, butt flaps and face-jewelry, reminding the shower-hating members of the genre that women’s rights were just as important as destroying capitalism. As you can hear, their musical output (especially their split LP with Los Crudos) sounds just as powerful as it did back then.\u003c/p>\n\u003ch2>Frightwig\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=lVDaYzP5xpg\u003c/p>\n\u003cp>We can’t write enough \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/fantasy-lineup-six-great-sf-bands-not-included-in-the-city-hall-centennial/\" target=\"_blank\" rel=\"noopener\">about the greatness of Frightwig\u003c/a>, who started back in the early ’80s and are still going strong today. They were Riot Grrrl before the scene existed, unabashedly feminist in a time when pop music was stating that “Girls Just Wanna To Have Fun” (\u003ca href=\"https://en.wikipedia.org/wiki/Girls_Just_Want_to_Have_Fun\" target=\"_blank\" rel=\"noopener\">a song written by a man\u003c/a>, by the way.) Their sound is impossible to categorize, ranging from dirge-y proto-grunge to no wave to straight-ahead punk, and releases such as \u003ci>Cat Farm Faboo\u003c/i> are must-haves for punk collectors. They’ve been playing out quite frequently in recent days with groups like Psychic TV and L7, and a recent performance backing \u003ca href=\"https://www.youtube.com/watch?v=0Sh3mMHL0wY\" target=\"_blank\" rel=\"noopener\">LA punk legend Alice Bag\u003c/a> shows they’re just as vicious live as they were decades ago.\u003c/p>\n\u003ch2>Trashwomen\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ur_RUjhhhQ4\u003c/p>\n\u003cp>In the early ’90s, San Francisco became home of the re-emergence of lo-fi garage music, which would brand itself “Budget Rock.” Again, many of the bands attached to the scene were all dudes — the Mummies, the Rip Offs, the Phantom Surfers — but the Trashwomen put all the boys in their place with a blend of dirty surf and garage punk. Drummer Tina Lucchesi would go on to front bands like The Bobbyteens and Tina & the Total Babes, whose 2001 self-titled LP was a watermark in the neo-power pop scene, while shredding surf guitarist Elka Zolot had her young daughter, Natassia, make her singing debut on one of their records, “\u003ca href=\"https://www.youtube.com/watch?v=s2L1s6P5UCA\" target=\"_blank\" rel=\"noopener\">Boys Are Toys\u003c/a>.” Years later, Natassia would take the stage name Kreayshawn, and in 2011 she’d become a household name through the viral web hit “\u003ca href=\"https://www.youtube.com/watch?v=6WJFjXtHcy4\" target=\"_blank\" rel=\"noopener\">Gucci Gucci\u003c/a>.”\u003c/p>\n\u003ch2>Raooul\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pznoc0nFcRA\u003c/p>\n\u003cp>While labels like K and Kill Rock Stars capitalized on the Riot Grrl scene by signing up Northwestern groups like Bratmobile and Bikini Kill, Berkeley’s Lookout! Records had Raooul. One difference? The members were in their early teens, so they described their music as being “Jail Bait Core” (also the name of their singular release on Lookout, a split LP with London’s Skinned Teen.) They might not have had overly impressive musicianship, but they had spirit — and their snotty, immature lyrics are also pretty damn funny.\u003c/p>\n\u003ch2>Grass Widow\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9Cveys2XSWM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only band on this list that was founded after 9/11 — they started in 2007 — Grass Widow needed to be included on this list simply because they’re absolutely fantastic. Though they could easily be grouped with the tons of other retro post-punk groups that have occupied the indie rock scene for the past few years, their musicianship and needlework melodies should never be forgotten. They released plenty in the six years they were together, and all of it is worth picking up. And if you’re still jonesing for rocking-yet-pretty jams after you’ve gone through the entire Grass Widow catalog, I highly suggest checking out the rip-roaring shoegaze of Cold Beat, which features Grass Widow bassist Hannah Lew.\u003c/p>\n\n",
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(You can learn more about the band by watching the award-winning 2003 documentary \u003ci>Rise Above: A Tribe 8 Documentary.\u003c/i>)\u003c/p>\n\u003ch2>Spitboy\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XXWBwl5liRc'\n title='//www.youtube.com/embed/XXWBwl5liRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the hardcore scene was obviously male-dominated, an even bigger boys’ club was the ’90s anarcho-punk scene that included groups like Aus Rotten and Disrupt and Resist. Spitboy were a shining light among the black clothing, butt flaps and face-jewelry, reminding the shower-hating members of the genre that women’s rights were just as important as destroying capitalism. As you can hear, their musical output (especially their split LP with Los Crudos) sounds just as powerful as it did back then.\u003c/p>\n\u003ch2>Frightwig\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lVDaYzP5xpg'\n title='//www.youtube.com/embed/lVDaYzP5xpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We can’t write enough \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/fantasy-lineup-six-great-sf-bands-not-included-in-the-city-hall-centennial/\" target=\"_blank\" rel=\"noopener\">about the greatness of Frightwig\u003c/a>, who started back in the early ’80s and are still going strong today. They were Riot Grrrl before the scene existed, unabashedly feminist in a time when pop music was stating that “Girls Just Wanna To Have Fun” (\u003ca href=\"https://en.wikipedia.org/wiki/Girls_Just_Want_to_Have_Fun\" target=\"_blank\" rel=\"noopener\">a song written by a man\u003c/a>, by the way.) Their sound is impossible to categorize, ranging from dirge-y proto-grunge to no wave to straight-ahead punk, and releases such as \u003ci>Cat Farm Faboo\u003c/i> are must-haves for punk collectors. They’ve been playing out quite frequently in recent days with groups like Psychic TV and L7, and a recent performance backing \u003ca href=\"https://www.youtube.com/watch?v=0Sh3mMHL0wY\" target=\"_blank\" rel=\"noopener\">LA punk legend Alice Bag\u003c/a> shows they’re just as vicious live as they were decades ago.\u003c/p>\n\u003ch2>Trashwomen\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ur_RUjhhhQ4'\n title='//www.youtube.com/embed/ur_RUjhhhQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the early ’90s, San Francisco became home of the re-emergence of lo-fi garage music, which would brand itself “Budget Rock.” Again, many of the bands attached to the scene were all dudes — the Mummies, the Rip Offs, the Phantom Surfers — but the Trashwomen put all the boys in their place with a blend of dirty surf and garage punk. Drummer Tina Lucchesi would go on to front bands like The Bobbyteens and Tina & the Total Babes, whose 2001 self-titled LP was a watermark in the neo-power pop scene, while shredding surf guitarist Elka Zolot had her young daughter, Natassia, make her singing debut on one of their records, “\u003ca href=\"https://www.youtube.com/watch?v=s2L1s6P5UCA\" target=\"_blank\" rel=\"noopener\">Boys Are Toys\u003c/a>.” Years later, Natassia would take the stage name Kreayshawn, and in 2011 she’d become a household name through the viral web hit “\u003ca href=\"https://www.youtube.com/watch?v=6WJFjXtHcy4\" target=\"_blank\" rel=\"noopener\">Gucci Gucci\u003c/a>.”\u003c/p>\n\u003ch2>Raooul\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pznoc0nFcRA'\n title='//www.youtube.com/embed/pznoc0nFcRA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While labels like K and Kill Rock Stars capitalized on the Riot Grrl scene by signing up Northwestern groups like Bratmobile and Bikini Kill, Berkeley’s Lookout! Records had Raooul. One difference? The members were in their early teens, so they described their music as being “Jail Bait Core” (also the name of their singular release on Lookout, a split LP with London’s Skinned Teen.) They might not have had overly impressive musicianship, but they had spirit — and their snotty, immature lyrics are also pretty damn funny.\u003c/p>\n\u003ch2>Grass Widow\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9Cveys2XSWM'\n title='//www.youtube.com/embed/9Cveys2XSWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The only band on this list that was founded after 9/11 — they started in 2007 — Grass Widow needed to be included on this list simply because they’re absolutely fantastic. Though they could easily be grouped with the tons of other retro post-punk groups that have occupied the indie rock scene for the past few years, their musicianship and needlework melodies should never be forgotten. They released plenty in the six years they were together, and all of it is worth picking up. And if you’re still jonesing for rocking-yet-pretty jams after you’ve gone through the entire Grass Widow catalog, I highly suggest checking out the rip-roaring shoegaze of Cold Beat, which features Grass Widow bassist Hannah Lew.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Back Away From the Beatbox: Ben Carson's Rap, and Other Cringeworthy Pitfalls Of Political Pandering",
"title": "Back Away From the Beatbox: Ben Carson's Rap, and Other Cringeworthy Pitfalls Of Political Pandering",
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"content": "\u003cp>Some days, you wake up and the swirling black hole that is Mother Internet has nothing but bad news for you: Natural disasters, gun violence, \u003ca href=\"http://www.eonline.com/news/713073/blake-shelton-and-gwen-stefani-are-dating\" target=\"_blank\" rel=\"noopener noreferrer\">confirmation of the unholy sexual union between Gwen Stefani and Blake Shelton.\u003c/a>\u003c/p>\n\u003cp>And some days, presidential hopeful Ben Carson's campaign team releases a minute-long rap song about Ben Carson.\u003c/p>\n\u003cp>\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/231659314&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\">\u003c/iframe>\u003c/p>\n\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\">\u003ca href=\"https://soundcloud.com/abcpolitics\" title=\"ABC Politics\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">ABC Politics\u003c/a> · \u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" title=\"Ben Carson Radio Ad\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">Ben Carson Radio Ad\u003c/a>\u003c/div>\n\u003cp>\u003ca href=\"http://abcnews.go.com/Politics/listen-ben-carsons-rap-ad-aimed-african-american/story?id=34988082\" target=\"_blank\" rel=\"noopener noreferrer\">According to ABC News\u003c/a>, the Carson campaign spent $150,000 for the ditty -- which is called \"Freedom\" -- to air as a radio ad for two weeks on \"urban\" stations in Miami; Atlanta; Houston; Detroit; Memphis; Birmingham, Alabama; Jackson, Mississippi; and Little Rock, Arkansas.\u003c/p>\n\u003cp>The rapper urging young hip-hop radio listeners to \"vote\" (and, upsettingly, to rhyme \"Carson\" with \"awesome\") over a flute riff and in between clips of Carson's stump speech is a guy by the name of\u003ca href=\"http://aspiringmogul.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Aspiring Mogul.\u003c/a> The MC's website indicates that he's a youth minister and young black Republican, as well as an \"original unique force within the GOP, one whom God has gifted on multiple levels of communication and political leadership.\" \u003ca href=\"https://www.facebook.com/ASPIRINGMOGUL1/\" target=\"_blank\" rel=\"noopener noreferrer\">His hometown is #INTERNATIONAL. \u003c/a>But nevermind Aspiring Mogul. Aspiring Mogul: This is not your fault.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Setting aside the hilarity specific to this situation -- \"I know, let's take a candidate whose predominant idiosyncrasy is that his speaking style \u003ca href=\"http://www.slate.com/articles/news_and_politics/video/2015/10/ben_carson_is_calm_at_gop_debates_he_also_closes_his_eyes_when_he_speaks.html\" target=\"_blank\" rel=\"noopener noreferrer\">seems like he might be falling asleep \u003c/a>and \u003cem>use his speech to make a rap song\"\u003c/em> -- this is really just the latest in a long line of politicians who are neither hip nor young attempting to pander to hip young #Millennial voters and instead mainly succeeding in making us all want to stuff cotton in our ears and hide beneath our desks for the rest of the day in embarrassment. And under that vast umbrella of pandering: \u003cem>Mega\u003c/em>-pandering to young minority voters via allusions to and/or attempted uses of hip-hop that most likely made Tupac roll over in his grave.\u003c/p>\n\u003cp>Let's take a stroll down memory lane, shall we?\u003c/p>\n\u003cp>Our first stop is an inexplicable rap song about Newt Gingrich that played during a Gingrich campaign stop in Florida over the course of his 2012 presidential run. (And henceforth, everyone thought of Newt Gingrich as a super-cool, urban -- wait, nevermind.)\u003c/p>\n\u003cp>Sample lyric: \"N to the E to the WT/Newt Gingrich taking over these streets/Is you ready for it yet?/I don't think so, where you at?\u003cbr>\nObama 'bout to step out the White House/Gingrich gonna get in the White House/He gon' have his wife, his spouse/Yeah, you know without a doubt.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oKeKY8B0scg\u003c/p>\n\u003cp>Here's former Bush II Advisor Karl Rove, transforming into \"MC Rove\" at the 2007 Radio and Television Correspondents' Association Dinner. Dare you to make it through the whole video!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ln5RD9BhcCo\u003c/p>\n\u003cp>Here's Mitt Romney referencing a then-12-year-old novelty rap song on a campaign stop in 2012 for no apparent reason (other than that he's meeting young black people?).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FDwwAaVmnf4\u003c/p>\n\u003cp>Hillary is no stranger to young people-pandering, of course -- especially in this election cycle, which finds her on a desperate quest to prove that\u003ca href=\"http://www.theonion.com/blogpost/i-am-fun-51731\" target=\"_blank\" rel=\"noopener noreferrer\"> she's not literally made out of wood\u003c/a>. Thus far her tactics include associations with hip young persons \u003ca href=\"https://instagram.com/p/9PO1JrEPjI/?taken-by=hillaryclinton\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry\u003c/a> and \u003ca href=\"http://www.politico.com/story/2015/09/hillary-clinton-lena-dunham-interview-213990\" target=\"_blank\" rel=\"noopener noreferrer\">Lena Dunham\u003c/a>. And yet: this \"whip/nae nae\" attempt from \u003cem>Ellen\u003c/em> a few weeks ago is the one that really sends us scrambling for cover.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ppgk9Mj1n88\u003c/p>\n\u003cp>Back to 2008: If someone hasn't looped John McCain saying \"Thank you, Daddy Yankee\" and used it on their own song yet I will eat my hat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F0fbU1VGvS0\u003c/p>\n\u003cp>And last but certainly not least: This clip of Jeb Bush helping Jimmy Fallon out with a \"Slow Jam the News\" segment isn't technically hip-hop, to be sure -- but it more than makes up for that when it comes to making us want to gouge our eyes out rather than having to look at a politician's meaty, vacant face in the background while Fallon makes sex jokes!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5GMhGpk5jY\u003c/p>\n\u003cp>So, what have we learned here today?\u003c/p>\n\u003cp>Yes, President Obama has managed to make hip-hop references and still come off cool.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzXcNgCr0nk\u003c/p>\n\u003cp>Obama is Obama. \u003ca href=\"http://politicalticker.blogs.cnn.com/2013/07/11/jay-z-says-he-texts-with-obama/\" target=\"_blank\" rel=\"noopener noreferrer\">He is actually friends with Jay Z\u003c/a>.\u003c/p>\n\u003cp>Everyone else? Might want to actually, you know, work on coming up with stances that young people can objectively weigh against your competitors' stances, for the purpose of deciding which policies would, if enacted, fall in line most closely with our own goals, beliefs and values. Imagine for a second that we're still people -- simply\u003cem> people who were born later than you.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime: brb, hitting play on that\u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" target=\"_blank\" rel=\"noopener noreferrer\"> Carson song again\u003c/a>. It doesn't sound like the candidate will be\u003ca href=\"http://thinkprogress.org/politics/2015/11/05/3719643/ben-carson-explains-rap-ad/\" target=\"_blank\" rel=\"noopener noreferrer\"> responsible for racking up any listens himself.\u003c/a>\u003c/p>\n\n",
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"excerpt": "In which an super-cool new \"urban\" song about the Republican candidate harkens back to a longstanding tradition of severe second-hand embarrassment.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some days, you wake up and the swirling black hole that is Mother Internet has nothing but bad news for you: Natural disasters, gun violence, \u003ca href=\"http://www.eonline.com/news/713073/blake-shelton-and-gwen-stefani-are-dating\" target=\"_blank\" rel=\"noopener noreferrer\">confirmation of the unholy sexual union between Gwen Stefani and Blake Shelton.\u003c/a>\u003c/p>\n\u003cp>And some days, presidential hopeful Ben Carson's campaign team releases a minute-long rap song about Ben Carson.\u003c/p>\n\u003cp>\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/231659314&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\">\u003c/iframe>\u003c/p>\n\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\">\u003ca href=\"https://soundcloud.com/abcpolitics\" title=\"ABC Politics\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">ABC Politics\u003c/a> · \u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" title=\"Ben Carson Radio Ad\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener noreferrer\">Ben Carson Radio Ad\u003c/a>\u003c/div>\n\u003cp>\u003ca href=\"http://abcnews.go.com/Politics/listen-ben-carsons-rap-ad-aimed-african-american/story?id=34988082\" target=\"_blank\" rel=\"noopener noreferrer\">According to ABC News\u003c/a>, the Carson campaign spent $150,000 for the ditty -- which is called \"Freedom\" -- to air as a radio ad for two weeks on \"urban\" stations in Miami; Atlanta; Houston; Detroit; Memphis; Birmingham, Alabama; Jackson, Mississippi; and Little Rock, Arkansas.\u003c/p>\n\u003cp>The rapper urging young hip-hop radio listeners to \"vote\" (and, upsettingly, to rhyme \"Carson\" with \"awesome\") over a flute riff and in between clips of Carson's stump speech is a guy by the name of\u003ca href=\"http://aspiringmogul.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Aspiring Mogul.\u003c/a> The MC's website indicates that he's a youth minister and young black Republican, as well as an \"original unique force within the GOP, one whom God has gifted on multiple levels of communication and political leadership.\" \u003ca href=\"https://www.facebook.com/ASPIRINGMOGUL1/\" target=\"_blank\" rel=\"noopener noreferrer\">His hometown is #INTERNATIONAL. \u003c/a>But nevermind Aspiring Mogul. Aspiring Mogul: This is not your fault.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Setting aside the hilarity specific to this situation -- \"I know, let's take a candidate whose predominant idiosyncrasy is that his speaking style \u003ca href=\"http://www.slate.com/articles/news_and_politics/video/2015/10/ben_carson_is_calm_at_gop_debates_he_also_closes_his_eyes_when_he_speaks.html\" target=\"_blank\" rel=\"noopener noreferrer\">seems like he might be falling asleep \u003c/a>and \u003cem>use his speech to make a rap song\"\u003c/em> -- this is really just the latest in a long line of politicians who are neither hip nor young attempting to pander to hip young #Millennial voters and instead mainly succeeding in making us all want to stuff cotton in our ears and hide beneath our desks for the rest of the day in embarrassment. And under that vast umbrella of pandering: \u003cem>Mega\u003c/em>-pandering to young minority voters via allusions to and/or attempted uses of hip-hop that most likely made Tupac roll over in his grave.\u003c/p>\n\u003cp>Let's take a stroll down memory lane, shall we?\u003c/p>\n\u003cp>Our first stop is an inexplicable rap song about Newt Gingrich that played during a Gingrich campaign stop in Florida over the course of his 2012 presidential run. (And henceforth, everyone thought of Newt Gingrich as a super-cool, urban -- wait, nevermind.)\u003c/p>\n\u003cp>Sample lyric: \"N to the E to the WT/Newt Gingrich taking over these streets/Is you ready for it yet?/I don't think so, where you at?\u003cbr>\nObama 'bout to step out the White House/Gingrich gonna get in the White House/He gon' have his wife, his spouse/Yeah, you know without a doubt.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oKeKY8B0scg'\n title='//www.youtube.com/embed/oKeKY8B0scg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's former Bush II Advisor Karl Rove, transforming into \"MC Rove\" at the 2007 Radio and Television Correspondents' Association Dinner. Dare you to make it through the whole video!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ln5RD9BhcCo'\n title='//www.youtube.com/embed/Ln5RD9BhcCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's Mitt Romney referencing a then-12-year-old novelty rap song on a campaign stop in 2012 for no apparent reason (other than that he's meeting young black people?).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FDwwAaVmnf4'\n title='//www.youtube.com/embed/FDwwAaVmnf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hillary is no stranger to young people-pandering, of course -- especially in this election cycle, which finds her on a desperate quest to prove that\u003ca href=\"http://www.theonion.com/blogpost/i-am-fun-51731\" target=\"_blank\" rel=\"noopener noreferrer\"> she's not literally made out of wood\u003c/a>. Thus far her tactics include associations with hip young persons \u003ca href=\"https://instagram.com/p/9PO1JrEPjI/?taken-by=hillaryclinton\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry\u003c/a> and \u003ca href=\"http://www.politico.com/story/2015/09/hillary-clinton-lena-dunham-interview-213990\" target=\"_blank\" rel=\"noopener noreferrer\">Lena Dunham\u003c/a>. And yet: this \"whip/nae nae\" attempt from \u003cem>Ellen\u003c/em> a few weeks ago is the one that really sends us scrambling for cover.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ppgk9Mj1n88'\n title='//www.youtube.com/embed/ppgk9Mj1n88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back to 2008: If someone hasn't looped John McCain saying \"Thank you, Daddy Yankee\" and used it on their own song yet I will eat my hat.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F0fbU1VGvS0'\n title='//www.youtube.com/embed/F0fbU1VGvS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And last but certainly not least: This clip of Jeb Bush helping Jimmy Fallon out with a \"Slow Jam the News\" segment isn't technically hip-hop, to be sure -- but it more than makes up for that when it comes to making us want to gouge our eyes out rather than having to look at a politician's meaty, vacant face in the background while Fallon makes sex jokes!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i5GMhGpk5jY'\n title='//www.youtube.com/embed/i5GMhGpk5jY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So, what have we learned here today?\u003c/p>\n\u003cp>Yes, President Obama has managed to make hip-hop references and still come off cool.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kzXcNgCr0nk'\n title='//www.youtube.com/embed/kzXcNgCr0nk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Obama is Obama. \u003ca href=\"http://politicalticker.blogs.cnn.com/2013/07/11/jay-z-says-he-texts-with-obama/\" target=\"_blank\" rel=\"noopener noreferrer\">He is actually friends with Jay Z\u003c/a>.\u003c/p>\n\u003cp>Everyone else? Might want to actually, you know, work on coming up with stances that young people can objectively weigh against your competitors' stances, for the purpose of deciding which policies would, if enacted, fall in line most closely with our own goals, beliefs and values. Imagine for a second that we're still people -- simply\u003cem> people who were born later than you.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime: brb, hitting play on that\u003ca href=\"https://soundcloud.com/abcpolitics/ben-carson-radio-ad\" target=\"_blank\" rel=\"noopener noreferrer\"> Carson song again\u003c/a>. It doesn't sound like the candidate will be\u003ca href=\"http://thinkprogress.org/politics/2015/11/05/3719643/ben-carson-explains-rap-ad/\" target=\"_blank\" rel=\"noopener noreferrer\"> responsible for racking up any listens himself.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fall weather is officially here, and let’s be real: This whole sky-gets-dark-at-5:30 stuff seems to provoke more staying home and sipping hot chocolate than going out. But are you really going to let so much great live music pass you by? No, you are not.\u003c/p>\n\u003cp>Here are our top picks for Bay Area music this week.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: The Last King of England with Rags at Sgraffito Gallery\u003c/strong>. Sacha Alessandro Marcello Berardinelli Galvagna may possess five names, but his vision is a singular one: on his latest album, recorded under the moniker the Last King of England, he conjures a dreamy, hazy world of swirling electronics and a low baritone, not unlike Canadian duo Majical Cloudz. Fans of Joy Division who’ve maybe gotten a little older and less jittery, take note. Christina Stanley and Rags open the show. \u003ca href=\"https://www.facebook.com/events/423781067819093/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057863\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057863\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg\" alt=\"Lila Downs.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lila Downs. \u003ccite>(Elena Pardo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Lila Downs at Davies Symphony Hall\u003c/strong>. Lila Downs is an Oaxacan-born singer of Mexican rancheros and a spirited carrier of the Mesoamerican tradition; every time I hear her gorgeously sing “\u003ca href=\"https://www.youtube.com/watch?v=hUdFlisd7cU\" target=\"_blank\" rel=\"noopener\">Penas del Alma\u003c/a>,” my skin tingles. Raised in America by a Scottish-American father, Downs sung jazz in Philadelphia and, for a few years, actually followed the Grateful Dead around the country. Now, of course, she’s distanced herself from those days, and her live shows attract a joyful, varied crowd — the last time I saw her, the aisles flooded with dancing by the show’s end. At Davies, she performs three shows in one day (at 11am, 2pm and 8pm) in honor of Dia de los Muertos. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Cappella SF at Mission Dolores\u003c/strong>. Ragnar Bohlin, Artistic Director of the San Francisco Symphony Chorus, debuted Cappella SF earlier this year with a mission of exploring the wide breadth of the choral repertoire — medieval to modern, secular to sacred. Now, Bohlin’s exploring another mission: healing the environment. In a program titled ‘Songs for the Earth: Music and Reflections on Protecting Nature,’ the choir sings pieces inspired by nature (by Ralph Vaughan Williams, Veljo Tormis, Claudio Monteverdi and others) alongside spoken-word reflections inside Mission Dolores’ nearly 100-year-old basilica. The evening is a partnership with Food & Water Watch. \u003ca href=\"https://www.eventbrite.com/e/songs-for-the-earth-music-and-reflections-on-protecting-nature-tickets-18713669088\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7 – Monday, Nov. 9: ‘Surround Sound’ at the Santa Rosa Symphony\u003c/strong>. Escaping the confines of the stage is usually the province of noise-rock acts like Lightning Bolt, overzealous stagediving rappers like Tyler, the Creator, or award-show special-effects stars like Pink. A symphony orchestra rarely gets the thrill. In their performance of György Kurtág’s Quasi una Fantasia, members of the Santa Rosa Symphony dispatch themselves around the main hall of the Green Music Center, surrounding the audience (and pianist Pedja Muzijevic) in a live replication of the Quadraphonic LP era. Schumann’s Piano Concerto and Brahms’ Symphony No. 1 round out the program. \u003ca href=\"http://santarosasymphony.com/EventDetail/15\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg\" alt=\"Kendrick Lamar.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 10: Kendrick Lamar at the Fox Theater\u003c/strong>. There I sat, in the Detroit airport on spotty wi-fi, refreshing the ticket page over and over again as I felt my hopes drain out of me… and I wasn’t alone. Ticket demand for this relatively intimate show with Kendrick Lamar crashed servers and crushed dreams, which is why you’re looking at almost $200 for floor seats on Stubhub. Lamar — raised in Compton and mentored by that city’s biggest success story, Dr. Dre — rides into Oakland on a wave of increasing impact from this year’s sprawling album \u003cem>To Pimp a Butterfly\u003c/em>, and in this mini-tour he focuses on the album’s cuts with a live backing band. The show’s sold out, but we list it here because it may just be worth the headaches of the secondhand market. \u003ca href=\"http://www.ticketmaster.com/event/1C004F35ED2F4499\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 12: ‘Celebrating the Clarinet’ at Grace Cathedral\u003c/strong>. Clarinetist Don Byron has performed a wide range of music — including that of \u003ca href=\"http://www.amazon.com/Ivey-Divey-Don-Byron/dp/B0002UY8W4\" target=\"_blank\" rel=\"noopener\">Lester Young’s trio\u003c/a> with Nat “King” Cole, the \u003ca href=\"http://www.amazon.com/Bug-Music-Quintette-Orchestra-Ellington/dp/B000002I2Z/ref=pd_sim_15_1?ie=UTF8&dpID=41HmjQHZiwL&dpSrc=sims&preST=_AC_UL160_SR160%2C160_&refRID=048DX84THDHAFFNKBFC0\" target=\"_blank\" rel=\"noopener\">cartoon music\u003c/a> of electronic pioneer Raymond Scott, and even \u003ca href=\"https://www.youtube.com/watch?v=QLtqsKuwEXU\" target=\"_blank\" rel=\"noopener\">hip-hop court jester Biz Markie\u003c/a>. Now, he rounds out an all-star lineup at Grace Cathedral focusing on the clarinet, a horn less embraced in jazz than, say, the saxophone or trumpet. Taking advantage of the church’s natural acoustic delay, Byron is joined by Anat Cohen, Todd Marcus and David Murray in what’s sure to be an adventurous program. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1108/sacred-space\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall weather is officially here, and let’s be real: This whole sky-gets-dark-at-5:30 stuff seems to provoke more staying home and sipping hot chocolate than going out. But are you really going to let so much great live music pass you by? No, you are not.\u003c/p>\n\u003cp>Here are our top picks for Bay Area music this week.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: The Last King of England with Rags at Sgraffito Gallery\u003c/strong>. Sacha Alessandro Marcello Berardinelli Galvagna may possess five names, but his vision is a singular one: on his latest album, recorded under the moniker the Last King of England, he conjures a dreamy, hazy world of swirling electronics and a low baritone, not unlike Canadian duo Majical Cloudz. Fans of Joy Division who’ve maybe gotten a little older and less jittery, take note. Christina Stanley and Rags open the show. \u003ca href=\"https://www.facebook.com/events/423781067819093/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057863\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057863\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg\" alt=\"Lila Downs.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LilaDowns.ElenaPardo-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lila Downs. \u003ccite>(Elena Pardo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Lila Downs at Davies Symphony Hall\u003c/strong>. Lila Downs is an Oaxacan-born singer of Mexican rancheros and a spirited carrier of the Mesoamerican tradition; every time I hear her gorgeously sing “\u003ca href=\"https://www.youtube.com/watch?v=hUdFlisd7cU\" target=\"_blank\" rel=\"noopener\">Penas del Alma\u003c/a>,” my skin tingles. Raised in America by a Scottish-American father, Downs sung jazz in Philadelphia and, for a few years, actually followed the Grateful Dead around the country. Now, of course, she’s distanced herself from those days, and her live shows attract a joyful, varied crowd — the last time I saw her, the aisles flooded with dancing by the show’s end. At Davies, she performs three shows in one day (at 11am, 2pm and 8pm) in honor of Dia de los Muertos. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: Cappella SF at Mission Dolores\u003c/strong>. Ragnar Bohlin, Artistic Director of the San Francisco Symphony Chorus, debuted Cappella SF earlier this year with a mission of exploring the wide breadth of the choral repertoire — medieval to modern, secular to sacred. Now, Bohlin’s exploring another mission: healing the environment. In a program titled ‘Songs for the Earth: Music and Reflections on Protecting Nature,’ the choir sings pieces inspired by nature (by Ralph Vaughan Williams, Veljo Tormis, Claudio Monteverdi and others) alongside spoken-word reflections inside Mission Dolores’ nearly 100-year-old basilica. The evening is a partnership with Food & Water Watch. \u003ca href=\"https://www.eventbrite.com/e/songs-for-the-earth-music-and-reflections-on-protecting-nature-tickets-18713669088\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7 – Monday, Nov. 9: ‘Surround Sound’ at the Santa Rosa Symphony\u003c/strong>. Escaping the confines of the stage is usually the province of noise-rock acts like Lightning Bolt, overzealous stagediving rappers like Tyler, the Creator, or award-show special-effects stars like Pink. A symphony orchestra rarely gets the thrill. In their performance of György Kurtág’s Quasi una Fantasia, members of the Santa Rosa Symphony dispatch themselves around the main hall of the Green Music Center, surrounding the audience (and pianist Pedja Muzijevic) in a live replication of the Quadraphonic LP era. Schumann’s Piano Concerto and Brahms’ Symphony No. 1 round out the program. \u003ca href=\"http://santarosasymphony.com/EventDetail/15\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11057865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg\" alt=\"Kendrick Lamar.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Nov. 10: Kendrick Lamar at the Fox Theater\u003c/strong>. There I sat, in the Detroit airport on spotty wi-fi, refreshing the ticket page over and over again as I felt my hopes drain out of me… and I wasn’t alone. Ticket demand for this relatively intimate show with Kendrick Lamar crashed servers and crushed dreams, which is why you’re looking at almost $200 for floor seats on Stubhub. Lamar — raised in Compton and mentored by that city’s biggest success story, Dr. Dre — rides into Oakland on a wave of increasing impact from this year’s sprawling album \u003cem>To Pimp a Butterfly\u003c/em>, and in this mini-tour he focuses on the album’s cuts with a live backing band. The show’s sold out, but we list it here because it may just be worth the headaches of the secondhand market. \u003ca href=\"http://www.ticketmaster.com/event/1C004F35ED2F4499\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 12: ‘Celebrating the Clarinet’ at Grace Cathedral\u003c/strong>. Clarinetist Don Byron has performed a wide range of music — including that of \u003ca href=\"http://www.amazon.com/Ivey-Divey-Don-Byron/dp/B0002UY8W4\" target=\"_blank\" rel=\"noopener\">Lester Young’s trio\u003c/a> with Nat “King” Cole, the \u003ca href=\"http://www.amazon.com/Bug-Music-Quintette-Orchestra-Ellington/dp/B000002I2Z/ref=pd_sim_15_1?ie=UTF8&dpID=41HmjQHZiwL&dpSrc=sims&preST=_AC_UL160_SR160%2C160_&refRID=048DX84THDHAFFNKBFC0\" target=\"_blank\" rel=\"noopener\">cartoon music\u003c/a> of electronic pioneer Raymond Scott, and even \u003ca href=\"https://www.youtube.com/watch?v=QLtqsKuwEXU\" target=\"_blank\" rel=\"noopener\">hip-hop court jester Biz Markie\u003c/a>. Now, he rounds out an all-star lineup at Grace Cathedral focusing on the clarinet, a horn less embraced in jazz than, say, the saxophone or trumpet. Taking advantage of the church’s natural acoustic delay, Byron is joined by Anat Cohen, Todd Marcus and David Murray in what’s sure to be an adventurous program. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1108/sacred-space\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland's \u003ca href=\"https://www.facebook.com/Shannon-and-the-Clams-134248713268350/?fref=ts\" target=\"_blank\">Shannon and the Clams\u003c/a> have dealt in danceable, beachy garage-rock and soulful doo-wop for the past half decade. But the trio's most recent record, \u003cem>Gone By The Dawn \u003c/em>(Hardly Art), is shot through with a dose of longing that's plainly audible beneath the standard irreverent, reverb-soaked guitar lines. (Both bassist-vocalist Shannon Shaw and guitarist Cody Blanchard \u003ca href=\"http://noisey.vice.com/blog/gone-by-the-dawn-shannon-and-the-clams\" target=\"_blank\">went through rough breakups while writing the album\u003c/a>, so, you know -- makes sense.)\u003c/p>\n\u003cp>\"Darlin’ it’s too late/to make it right/I had my chance/but I didn’t try,\" wails Blanchard in \"It's Too Late\" -- the new video for which you should go ahead and watch below. Cautionary tale about wandering off in the woods -- or admittedly weird beginning of a beautiful friendship? You be the judge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJalyeHLzjg\u003c/p>\n\u003cp>The Clams are currently en route to Europe for a few weeks before returning home to the Bay; they'll cap off a big year with \u003ca href=\"https://www.eventbrite.com/e/sonny-and-the-sunsets-shannon-and-the-clams-gamh-tickets-18962172368\" target=\"_blank\">a two-night stint at the Great American Music Hall on Dec. 30 and 31\u003c/a>, sharing a bill with fellow local faves Sonny and the Sunsets.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland's \u003ca href=\"https://www.facebook.com/Shannon-and-the-Clams-134248713268350/?fref=ts\" target=\"_blank\">Shannon and the Clams\u003c/a> have dealt in danceable, beachy garage-rock and soulful doo-wop for the past half decade. But the trio's most recent record, \u003cem>Gone By The Dawn \u003c/em>(Hardly Art), is shot through with a dose of longing that's plainly audible beneath the standard irreverent, reverb-soaked guitar lines. (Both bassist-vocalist Shannon Shaw and guitarist Cody Blanchard \u003ca href=\"http://noisey.vice.com/blog/gone-by-the-dawn-shannon-and-the-clams\" target=\"_blank\">went through rough breakups while writing the album\u003c/a>, so, you know -- makes sense.)\u003c/p>\n\u003cp>\"Darlin’ it’s too late/to make it right/I had my chance/but I didn’t try,\" wails Blanchard in \"It's Too Late\" -- the new video for which you should go ahead and watch below. Cautionary tale about wandering off in the woods -- or admittedly weird beginning of a beautiful friendship? You be the judge.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cJalyeHLzjg'\n title='//www.youtube.com/embed/cJalyeHLzjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Clams are currently en route to Europe for a few weeks before returning home to the Bay; they'll cap off a big year with \u003ca href=\"https://www.eventbrite.com/e/sonny-and-the-sunsets-shannon-and-the-clams-gamh-tickets-18962172368\" target=\"_blank\">a two-night stint at the Great American Music Hall on Dec. 30 and 31\u003c/a>, sharing a bill with fellow local faves Sonny and the Sunsets.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Okay, let’s get this out of the way: The most important thing to do today costs absolutely nothing, and is really, really vital if you’re a San Francisco resident. \u003ca href=\"http://sfelections.org/tools/pollsite/\" target=\"_blank\" rel=\"noopener\">Vote! \u003c/a>Many polling places are open until 8 p.m., so you really don’t have an excuse.\u003c/p>\n\u003cp>Now that you’ve done that, here’s a hefty handful of events all over the Bay at which you can celebrate your civic duty — or just have a good time — for $20 or under. Without further ado, here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\">Hippy Mobb: A-Plus & Knowbody (Grow Theory), Equipto & Otayo Dubb at the New Parish, Oakland. \u003c/a>\u003c/strong>SF rapper Equipto made headlines recently for approaching Mayor Ed Lee in a diner with some none-too-sugarcoated opinions about the politician’s track record with working- and middle-class folks over the past few years. But his crew, Hippy Mobb, has been on the lips of those in the know for more than two decades. A-Plus brings cred from a different beloved crew, the Souls of Mischief/Hieroglyphics family of East Bay MCs and beat-makers. This is a low-key hometown hip-hop celebration.\u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\"> $8 – $12; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Vetiver at Sweetwater Music Hall, Mill Valley. \u003c/a>\u003c/strong>The brainchild and ever-evolving musical output of singer-songwriter-musician-producer Andy Cabic, Vetiver’s one of those San Francisco bands that will never put on the same show twice, so you can plan on not being bored, to say the least. \u003cem>Complete Strangers\u003c/em>, Cabic’s latest record, skips from melancholy indie-folk to tropicalia to power pop. As he wrote when announcing the album: “It feels like someone I’ve just met yet known for a long time.” \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">$20; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 6: \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">\u003cem>First Friday\u003c/em> at the New Parkway, Oakland. \u003c/a>“\u003c/strong>In the same year, Oakland was rated one of the top five destinations in the world and one of the top five most dangerous cities in the country. On Feb. 1, 2013 those two realities met with the fatal shooting of a teenager during First Friday, a monthly arts festival that has become the symbol of the city’s economic and cultural revival. \u003cem>First Friday\u003c/em> follows a diverse group of residents as they work to preserve the event that represents a city’s attempt to transform itself.” A Q&A with filmmakers N’Jeri Eaton and Mario Furloni will follow. \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">$10; details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Real Future Fair, SF. \u003c/a>\u003c/strong>This weekend-long festival brings together some of the most visionary minds in science and technology, talking about where the next century is poised to take us. Tickets to many sessions are on the pricey-end, but this day-long event is free, family-friendly and open to the public. Featured events include drone demonstrations by the Aerial Sports League, a robot petting zoo, the Oddball Failed Futures Film Festival, and presentations by Dorkbot, the Bay Area Video Coalition and The Long Now. \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">Dirty Ghosts, Useless Eaters and Kelley Stoltz at Brick and Mortar Music Hall, SF. \u003c/a>\u003c/strong>It’s been a while since we’ve seen Allyson Baker, the magnetic frontwoman at the helm of SF’s Dirty Ghosts, take over a stage — but it’s usually worth the wait. This is a solid night of rusty punk-tinged indie rock in an intimate venue, celebrating the release of new records before the Ghosts and SF mainstay Stoltz head to Europe to tour. \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">$10 – $14; details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 10:\u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\"> Adrian Tomine in conversation with Vendela Vida at Booksmith, SF.\u003c/a> \u003c/strong>The Bay Area-bred graphic novelist who’s been compared to short story master Raymond Carver is back with a typically emotionally loaded new book, \u003cem>Killing and Dying, \u003c/em>full of the dark humor and quiet moments he’s known so well for capturing in comic book form. Catch him in conversation with SF superstar novelist Vendela Vida. \u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Are you throwing a thing that’s $20 or under? Should I know about it? Email me at \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Okay, let’s get this out of the way: The most important thing to do today costs absolutely nothing, and is really, really vital if you’re a San Francisco resident. \u003ca href=\"http://sfelections.org/tools/pollsite/\" target=\"_blank\" rel=\"noopener\">Vote! \u003c/a>Many polling places are open until 8 p.m., so you really don’t have an excuse.\u003c/p>\n\u003cp>Now that you’ve done that, here’s a hefty handful of events all over the Bay at which you can celebrate your civic duty — or just have a good time — for $20 or under. Without further ado, here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\">Hippy Mobb: A-Plus & Knowbody (Grow Theory), Equipto & Otayo Dubb at the New Parish, Oakland. \u003c/a>\u003c/strong>SF rapper Equipto made headlines recently for approaching Mayor Ed Lee in a diner with some none-too-sugarcoated opinions about the politician’s track record with working- and middle-class folks over the past few years. But his crew, Hippy Mobb, has been on the lips of those in the know for more than two decades. A-Plus brings cred from a different beloved crew, the Souls of Mischief/Hieroglyphics family of East Bay MCs and beat-makers. This is a low-key hometown hip-hop celebration.\u003ca href=\"http://thenewparish.com/event.cfm?id=223854\" target=\"_blank\" rel=\"noopener\"> $8 – $12; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 5: \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Vetiver at Sweetwater Music Hall, Mill Valley. \u003c/a>\u003c/strong>The brainchild and ever-evolving musical output of singer-songwriter-musician-producer Andy Cabic, Vetiver’s one of those San Francisco bands that will never put on the same show twice, so you can plan on not being bored, to say the least. \u003cem>Complete Strangers\u003c/em>, Cabic’s latest record, skips from melancholy indie-folk to tropicalia to power pop. As he wrote when announcing the album: “It feels like someone I’ve just met yet known for a long time.” \u003ca href=\"http://www.sweetwatermusichall.com/event/979391-evening-vetiver-mill-valley/\" target=\"_blank\" rel=\"noopener\">$20; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 6: \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">\u003cem>First Friday\u003c/em> at the New Parkway, Oakland. \u003c/a>“\u003c/strong>In the same year, Oakland was rated one of the top five destinations in the world and one of the top five most dangerous cities in the country. On Feb. 1, 2013 those two realities met with the fatal shooting of a teenager during First Friday, a monthly arts festival that has become the symbol of the city’s economic and cultural revival. \u003cem>First Friday\u003c/em> follows a diverse group of residents as they work to preserve the event that represents a city’s attempt to transform itself.” A Q&A with filmmakers N’Jeri Eaton and Mario Furloni will follow. \u003ca href=\"http://brownpapertickets.com/event/2296191\" target=\"_blank\" rel=\"noopener\">$10; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Real Future Fair, SF. \u003c/a>\u003c/strong>This weekend-long festival brings together some of the most visionary minds in science and technology, talking about where the next century is poised to take us. Tickets to many sessions are on the pricey-end, but this day-long event is free, family-friendly and open to the public. Featured events include drone demonstrations by the Aerial Sports League, a robot petting zoo, the Oddball Failed Futures Film Festival, and presentations by Dorkbot, the Bay Area Video Coalition and The Long Now. \u003ca href=\"https://www.eventbrite.com/e/real-future-fair-tickets-18923308124\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 7: \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">Dirty Ghosts, Useless Eaters and Kelley Stoltz at Brick and Mortar Music Hall, SF. \u003c/a>\u003c/strong>It’s been a while since we’ve seen Allyson Baker, the magnetic frontwoman at the helm of SF’s Dirty Ghosts, take over a stage — but it’s usually worth the wait. This is a solid night of rusty punk-tinged indie rock in an intimate venue, celebrating the release of new records before the Ghosts and SF mainstay Stoltz head to Europe to tour. \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=223025&cart\" target=\"_blank\" rel=\"noopener\">$10 – $14; details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 10:\u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\"> Adrian Tomine in conversation with Vendela Vida at Booksmith, SF.\u003c/a> \u003c/strong>The Bay Area-bred graphic novelist who’s been compared to short story master Raymond Carver is back with a typically emotionally loaded new book, \u003cem>Killing and Dying, \u003c/em>full of the dark humor and quiet moments he’s known so well for capturing in comic book form. Catch him in conversation with SF superstar novelist Vendela Vida. \u003ca href=\"http://www.booksmith.com/event/adrian-tomine-killing-and-dying-conversation-vendela-vida\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Are you throwing a thing that’s $20 or under? Should I know about it? Email me at \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On this year’s ballot, two propositions in San Francisco — Propositions I and F — have come to represent the city’s well-publicized tension between its growing tech-worker population and its long-established artistic class.\u003c/p>\n\u003cp>In one case, a fast-growing tech company has spent over $8 million to stop a proposition that would increase regulations on its services, which data shows have contributed to the city’s housing shortage and mass exodus of longtime residents. In the other, the passage of a proposition would mean that a new 4,000-capacity dance hall would be unable to open for three years, but it would also mean that a small-but-beloved music venue would get to stay open for a good while longer.\u003c/p>\n\u003cp>\u003ci>For more information on these propositions, and other measures on this year’s ballot, see KQED News’ \u003ca href=\"http://ww2.kqed.org/news/tag/2015-election\" target=\"_blank\" rel=\"noopener\">November 2015 Election Guide\u003c/a>)\u003c/i>\u003c/p>\n\u003ch2>Proposition I\u003c/h2>\n\u003cp>Prop. I’s main intent is to institute a moratorium on luxury housing in the city’s Mission District; it would block construction of any new residential buildings with five or more units, possibly for two years. But the proposition would also halt new “business development projects,” including the opening of Drill Court, a larger event space inside Kink.com’s Armory on 14th and Mission. If the proposition passes, Kink.com would be unable to convert the currently part-time space into a full-time music venue, thereby rendering it \u003ca href=\"http://sfist.com/2015/09/29/mission_moratorium_would_kill_plans.php\" target=\"_blank\" rel=\"noopener\">financially impossible to run\u003c/a>.\u003c/p>\n\u003cp>On the other hand, Prop. I would save the Elbo Room from being turned into a five-story condo development for at least 18 months. When the cherished venue announced that its owners planned to shut down the club, late last year, local residents quickly \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">came together to block the conversion\u003c/a>. When the owners’ plans were approved, it looked like the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room was doomed\u003c/a>. Delays with the project led building owners Dennis and Susan Ring to allow the Elbo Room to stay open through the end of the year, however, and to operate on a month-to-month lease through 2016. If Prop I passes, the Elbo Room would be allowed to operate into at least 2017.\u003c/p>\n\u003ch2>Proposition F\u003c/h2>\n\u003cp>The biggest issue affecting artists in San Francisco is housing: a recent survey conducted by the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission \u003c/a>found that out of 600 respondents, 70 percent had lost or were in the process of losing their workspaces or homes. A contributor to this housing shortage is Airbnb, the online service that allows local residents to utilize empty rooms as short-term rentals. But the system is being abused in San Francisco: according to \u003ca href=\"http://insideairbnb.com/san-francisco/#\" target=\"_blank\" rel=\"noopener\">InsideAirbnb\u003c/a>, which monitors the site’s data, almost 60 percent of Airbnb rentals in San Francisco are \u003ca href=\"http://www.48hills.org/2015/11/02/most-airbnb-listings-are-entire-houses/\" target=\"_blank\" rel=\"noopener\">entire houses, available for rent over 90 days a year\u003c/a>. (One of the intents of Prop. F is to limit the use of a landlord’s room as a short-term rental to 75 days per year.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Airbnb has invested many millions to attack the proposition, but some of their \u003ca href=\"http://ww2.kqed.org/news/2015/10/22/airbnb-concedes-it-goofed-with-dear-san-francisco-ads\" target=\"_blank\" rel=\"noopener\">ads have backfired\u003c/a>. In the wake of the public-relations meltdown, a few positive pieces on Airbnb were published — including in the New York Times’ magazine \u003ci>T\u003c/i>, which, in a clear conflict of interest, was written by the \u003ca href=\"http://publiceditor.blogs.nytimes.com/2015/10/29/conflict-of-interest-in-t-magazines-tech-article/?_r=0\" target=\"_blank\" rel=\"noopener\">wife of a major investor in Airbnb\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.buzzfeed.com/carolineodonovan/airbnb-eve-a-tech-behemoth-comes-face-to-face-with-san-franc#.fiEemy0NQ\" target=\"_blank\" rel=\"noopener\">a recent piece on \u003ci>Buzzfeed\u003c/i>\u003c/a>, author Caroline O’Donovan wrote that the wife of Airbnb’s vice-president of product had started her own baking business making cookies resembling Frida Kahlo. In order to offset business startup costs, the couple planned to rent one of their rooms on Airbnb, but claimed Prop. F’s restrictions would end those plans.\u003c/p>\n\u003cp>On that same story, one commenter noted that the artist who introduced Frida Kahlo’s work to an American audience was \u003ca href=\"http://missionlocal.org/2013/10/royalty-of-the-mission-art-scene-faces-eviction/\" target=\"_blank\" rel=\"noopener\">Rene Yañez\u003c/a>, who held Kahlo’s first show at San Francisco’s Galeria de la Raza in the 1970s. A city resident for 35 years — who’s also credited with turning Dia de los Muertos into a citywide event — Yañez and his entire family were \u003ca href=\"http://missionlocal.org/2014/05/eviction-garage-sale-a-sense-of-place/\" target=\"_blank\" rel=\"noopener\">evicted from their duplex on San Jose Ave.\u003c/a> through the controversial Ellis Act last year. At the time, both Yañez and his wife were fighting terminal cancer.\u003c/p>\n\u003cp>According to InsideAirbnb, there are currently 922 Airbnb listings in the Mission alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>(For more on the potential impacts of Proposition F, see the KQED newsroom’s \u003ca href=\"http://ww2.kqed.org/news/2015/10/06/how-san-franciscos-prop-f-would-change-airbnb-rentals\" target=\"_blank\" rel=\"noopener\">recent overview\u003c/a>.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this year’s ballot, two propositions in San Francisco — Propositions I and F — have come to represent the city’s well-publicized tension between its growing tech-worker population and its long-established artistic class.\u003c/p>\n\u003cp>In one case, a fast-growing tech company has spent over $8 million to stop a proposition that would increase regulations on its services, which data shows have contributed to the city’s housing shortage and mass exodus of longtime residents. In the other, the passage of a proposition would mean that a new 4,000-capacity dance hall would be unable to open for three years, but it would also mean that a small-but-beloved music venue would get to stay open for a good while longer.\u003c/p>\n\u003cp>\u003ci>For more information on these propositions, and other measures on this year’s ballot, see KQED News’ \u003ca href=\"http://ww2.kqed.org/news/tag/2015-election\" target=\"_blank\" rel=\"noopener\">November 2015 Election Guide\u003c/a>)\u003c/i>\u003c/p>\n\u003ch2>Proposition I\u003c/h2>\n\u003cp>Prop. I’s main intent is to institute a moratorium on luxury housing in the city’s Mission District; it would block construction of any new residential buildings with five or more units, possibly for two years. But the proposition would also halt new “business development projects,” including the opening of Drill Court, a larger event space inside Kink.com’s Armory on 14th and Mission. If the proposition passes, Kink.com would be unable to convert the currently part-time space into a full-time music venue, thereby rendering it \u003ca href=\"http://sfist.com/2015/09/29/mission_moratorium_would_kill_plans.php\" target=\"_blank\" rel=\"noopener\">financially impossible to run\u003c/a>.\u003c/p>\n\u003cp>On the other hand, Prop. I would save the Elbo Room from being turned into a five-story condo development for at least 18 months. When the cherished venue announced that its owners planned to shut down the club, late last year, local residents quickly \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">came together to block the conversion\u003c/a>. When the owners’ plans were approved, it looked like the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room was doomed\u003c/a>. Delays with the project led building owners Dennis and Susan Ring to allow the Elbo Room to stay open through the end of the year, however, and to operate on a month-to-month lease through 2016. If Prop I passes, the Elbo Room would be allowed to operate into at least 2017.\u003c/p>\n\u003ch2>Proposition F\u003c/h2>\n\u003cp>The biggest issue affecting artists in San Francisco is housing: a recent survey conducted by the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission \u003c/a>found that out of 600 respondents, 70 percent had lost or were in the process of losing their workspaces or homes. A contributor to this housing shortage is Airbnb, the online service that allows local residents to utilize empty rooms as short-term rentals. But the system is being abused in San Francisco: according to \u003ca href=\"http://insideairbnb.com/san-francisco/#\" target=\"_blank\" rel=\"noopener\">InsideAirbnb\u003c/a>, which monitors the site’s data, almost 60 percent of Airbnb rentals in San Francisco are \u003ca href=\"http://www.48hills.org/2015/11/02/most-airbnb-listings-are-entire-houses/\" target=\"_blank\" rel=\"noopener\">entire houses, available for rent over 90 days a year\u003c/a>. (One of the intents of Prop. F is to limit the use of a landlord’s room as a short-term rental to 75 days per year.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Airbnb has invested many millions to attack the proposition, but some of their \u003ca href=\"http://ww2.kqed.org/news/2015/10/22/airbnb-concedes-it-goofed-with-dear-san-francisco-ads\" target=\"_blank\" rel=\"noopener\">ads have backfired\u003c/a>. In the wake of the public-relations meltdown, a few positive pieces on Airbnb were published — including in the New York Times’ magazine \u003ci>T\u003c/i>, which, in a clear conflict of interest, was written by the \u003ca href=\"http://publiceditor.blogs.nytimes.com/2015/10/29/conflict-of-interest-in-t-magazines-tech-article/?_r=0\" target=\"_blank\" rel=\"noopener\">wife of a major investor in Airbnb\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.buzzfeed.com/carolineodonovan/airbnb-eve-a-tech-behemoth-comes-face-to-face-with-san-franc#.fiEemy0NQ\" target=\"_blank\" rel=\"noopener\">a recent piece on \u003ci>Buzzfeed\u003c/i>\u003c/a>, author Caroline O’Donovan wrote that the wife of Airbnb’s vice-president of product had started her own baking business making cookies resembling Frida Kahlo. In order to offset business startup costs, the couple planned to rent one of their rooms on Airbnb, but claimed Prop. F’s restrictions would end those plans.\u003c/p>\n\u003cp>On that same story, one commenter noted that the artist who introduced Frida Kahlo’s work to an American audience was \u003ca href=\"http://missionlocal.org/2013/10/royalty-of-the-mission-art-scene-faces-eviction/\" target=\"_blank\" rel=\"noopener\">Rene Yañez\u003c/a>, who held Kahlo’s first show at San Francisco’s Galeria de la Raza in the 1970s. A city resident for 35 years — who’s also credited with turning Dia de los Muertos into a citywide event — Yañez and his entire family were \u003ca href=\"http://missionlocal.org/2014/05/eviction-garage-sale-a-sense-of-place/\" target=\"_blank\" rel=\"noopener\">evicted from their duplex on San Jose Ave.\u003c/a> through the controversial Ellis Act last year. At the time, both Yañez and his wife were fighting terminal cancer.\u003c/p>\n\u003cp>According to InsideAirbnb, there are currently 922 Airbnb listings in the Mission alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>(For more on the potential impacts of Proposition F, see the KQED newsroom’s \u003ca href=\"http://ww2.kqed.org/news/2015/10/06/how-san-franciscos-prop-f-would-change-airbnb-rentals\" target=\"_blank\" rel=\"noopener\">recent overview\u003c/a>.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Part of being a famous singer with a new single to promote is suffering through endless interviews and playing along with whatever random offensive stuff the host throws your way. Many celebrities (the Britneys of the world) are coached to smile and nod, no matter how problematic things get. Ariana Grande is not here for that.\u003c/p>\n\u003cp>On a recent visit to Ryan Seacrest's show (yes, that is something that exists and no, I can't explain why), Grande put him in his place when he tried to claim that girls are the only ones who change their minds:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://vine.co/v/e3aMvIlreEL/embed/simple\" width=\"600\" height=\"600\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But her work of educating clueless dudes had just begun. On Power 106 FM, two male DJs repeatedly asked ignorant questions or said ignorant things, such as insisting that no man would ever use a unicorn emoji and claiming that the only things girls care about are their phones and makeup. Ariana Grande turned each instance into an educational moment and then wrapped things up by saying:\u003c/p>\n\u003cblockquote>\u003cp>\"I have a long list of things I’d like to change...I think, judgement in general. Intolerance, meanness, double standards, misogyny, racism, sexism...There’s lots we’ve got to get started on. That’s what we need to focus on. We’ve got work to do. We’ll start with you, though.”\u003c/p>\u003c/blockquote>\n\u003cp>Nailed it!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch the whole exchange:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ACN9NU9WYfo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/1s01ty.gif\">\u003cimg class=\"aligncenter size-full wp-image-18852\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/1s01ty.gif\" alt=\"ariana grande come on hunty\" width=\"245\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/1s01ty.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/1s01ty-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/1s01ty-64x64.gif 64w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Part of being a famous singer with a new single to promote is suffering through endless interviews and playing along with whatever random offensive stuff the host throws your way. Many celebrities (the Britneys of the world) are coached to smile and nod, no matter how problematic things get. Ariana Grande is not here for that.\u003c/p>\n\u003cp>On a recent visit to Ryan Seacrest's show (yes, that is something that exists and no, I can't explain why), Grande put him in his place when he tried to claim that girls are the only ones who change their minds:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://vine.co/v/e3aMvIlreEL/embed/simple\" width=\"600\" height=\"600\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But her work of educating clueless dudes had just begun. On Power 106 FM, two male DJs repeatedly asked ignorant questions or said ignorant things, such as insisting that no man would ever use a unicorn emoji and claiming that the only things girls care about are their phones and makeup. Ariana Grande turned each instance into an educational moment and then wrapped things up by saying:\u003c/p>\n\u003cblockquote>\u003cp>\"I have a long list of things I’d like to change...I think, judgement in general. Intolerance, meanness, double standards, misogyny, racism, sexism...There’s lots we’ve got to get started on. That’s what we need to focus on. We’ve got work to do. We’ll start with you, though.”\u003c/p>\u003c/blockquote>\n\u003cp>Nailed it!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ticket Alert: Metallica at AT&T Park",
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"content": "\u003cp>Metallica has \u003ca href=\"http://metallica.com/\" target=\"_blank\" rel=\"noopener\">just announced\u003c/a> a show at AT&T Park for Feb. 6 — the night before the Super Bowl — and as usual, there’s a confusing labyrinth of ticket presales, fan club passwords and more.\u003c/p>\n\u003cp>Tickets to the general public go on sale Friday, Nov. 6 at 10am, but there are numerous ways to score tickets beforehand. Here’s your simple guide:\u003c/p>\n\u003cp>On \u003cstrong>Tuesday, Nov. 3\u003c/strong> at 10am, tickets go \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to members of Metallica’s fan club, the \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">Met Club\u003c/a>. Signing up is free; I just did it, and it took about 30 seconds. \u003ca href=\"http://metallica.com/blog/club-news/356881/san-francisco-met-club-presale-starts-tuesday-nove\" target=\"_blank\" rel=\"noopener\">Sign up here\u003c/a>, and you’ll be first to buy tickets.\u003c/p>\n\u003cp>On \u003cstrong>Wednesday, Nov. 4\u003c/strong> at 10am, tickets go \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to Citi cardholders. You have to buy the tickets with an actual Citi card, so borrow one from your dad. \u003c/p>\n\u003cp>On \u003cstrong>Thursday, Nov. 5\u003c/strong> at 10am, tickets go on sale to Giants \u003ca href=\"http://sanfrancisco.giants.mlb.com/sf/ticketing/sth/\" target=\"_blank\" rel=\"noopener\">season-ticket holders\u003c/a>; if you know someone with season tickets, hit ’em up. Also at the same time is a Live Nation presale, accessed by downloading Live Nation’s \u003ca href=\"http://www.livenation.com/mobile/\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On \u003cstrong>Friday, Nov. 6\u003c/strong> at 10am, tickets go on sale \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">to the general public\u003c/a>… but why would you wait that long?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica has \u003ca href=\"http://metallica.com/\" target=\"_blank\" rel=\"noopener\">just announced\u003c/a> a show at AT&T Park for Feb. 6 — the night before the Super Bowl — and as usual, there’s a confusing labyrinth of ticket presales, fan club passwords and more.\u003c/p>\n\u003cp>Tickets to the general public go on sale Friday, Nov. 6 at 10am, but there are numerous ways to score tickets beforehand. Here’s your simple guide:\u003c/p>\n\u003cp>On \u003cstrong>Tuesday, Nov. 3\u003c/strong> at 10am, tickets go \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to members of Metallica’s fan club, the \u003ca href=\"http://metallica.com/metclub\" target=\"_blank\" rel=\"noopener\">Met Club\u003c/a>. Signing up is free; I just did it, and it took about 30 seconds. \u003ca href=\"http://metallica.com/blog/club-news/356881/san-francisco-met-club-presale-starts-tuesday-nove\" target=\"_blank\" rel=\"noopener\">Sign up here\u003c/a>, and you’ll be first to buy tickets.\u003c/p>\n\u003cp>On \u003cstrong>Wednesday, Nov. 4\u003c/strong> at 10am, tickets go \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">on sale\u003c/a> to Citi cardholders. You have to buy the tickets with an actual Citi card, so borrow one from your dad. \u003c/p>\n\u003cp>On \u003cstrong>Thursday, Nov. 5\u003c/strong> at 10am, tickets go on sale to Giants \u003ca href=\"http://sanfrancisco.giants.mlb.com/sf/ticketing/sth/\" target=\"_blank\" rel=\"noopener\">season-ticket holders\u003c/a>; if you know someone with season tickets, hit ’em up. Also at the same time is a Live Nation presale, accessed by downloading Live Nation’s \u003ca href=\"http://www.livenation.com/mobile/\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On \u003cstrong>Friday, Nov. 6\u003c/strong> at 10am, tickets go on sale \u003ca href=\"http://www.ticketmaster.com/metallica-san-francisco-california-02-06-2016/event/1C004F5CDDBD5A71?artistid=735647&majorcatid=10001&minorcatid=200\" target=\"_blank\" rel=\"noopener\">to the general public\u003c/a>… but why would you wait that long?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Margins to the Mainstream: Carrie Brownstein's Riveting Memoir",
"headTitle": "From the Margins to the Mainstream: Carrie Brownstein’s Riveting Memoir | KQED",
"content": "\u003cp>The best music memoirs operate as more than simply extended liner notes for nerdy completists — they also reveal the deeper emotional struggles driving artists from the margins to the mainstream. These transcendent narratives intimately map the psyches of cultural trailblazers such as Patti Smith, with the revealing \u003cem>M Train\u003c/em> and \u003cem>Just Kids\u003c/em>, or Sonic Youth’s Kim Gordon, who chronicled her rise from experimental artist to festival headliner in this year’s excellent memoir, \u003cem>Girl in a Band\u003c/em>. Now Carrie Brownstein enters the world of fearless rock memoirists with her beautifully written literary debut, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>.\u003c/p>\n\u003cp>Brownstein possesses an enviable array of talents. She’s the co-frontwoman of the acclaimed Northwest rock trio Sleater-Kinney, whose ardent feminist anthems propelled the group from its Olympia roots to an international stage. She’s also the co-creator/co-star of the Emmy-nominated series \u003cem>Portlandia\u003c/em>, the IFC comedy steeped in hipster satire, and has a recurring role on the Amazon series \u003cem>Transparent\u003c/em>. She’s become a cultural critic as well over the past decade, sharpening her elegant prose as a \u003ca href=\"http://www.npr.org/series/129083641/the-best-of-monitor-mix-by-carrie-brownstein\" target=\"_blank\" rel=\"noopener\">columnist for NPR\u003c/a>. But the recurring theme in Brownstein’s memoir isn’t her many accomplishments; it’s the more interesting story of an anguished misfit battling to constantly calibrate her place in the world. \u003c/p>\n\u003cfigure id=\"attachment_11049568\" class=\"wp-caption alignright\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg\" alt=\"'Hunger Makes Me a Modern Girl.' (Penguin/Random House)\" width=\"806\" height=\"1217\" class=\"size-full wp-image-11049568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-781x1180.jpg 781w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘Hunger Makes Me a Modern Girl.’ (Penguin/Random House)\u003c/figcaption>\u003c/figure>\n\u003cp>Brownstein’s struggle for visibility began at home in the suburbs of Seattle, where her parents’ personal crises subsumed their daughter’s needs. Take, for example, this passage on her mother, a woman she describes as becoming increasingly absorbed by anorexia: \u003c/p>\n\u003cblockquote>\u003cp>She was retreating from the world, a slow-motion magic trick. Meanwhile I was getting louder, angrier, wilder. I experimented with early forms of my own amplification — of self, of voice, of fury — while my mother’s volume was turned down lower and lower.\u003c/p>\u003c/blockquote>\n\u003cp>And then there’s her father, a man about whom she knew very little, despite growing up with him. He disappeared into a closeted life, awkwardly coming out to his daughter very in his 50s in a scene she describes as “typical, like he was just a sidekick in his own life, a shadow.”\u003c/p>\n\u003cp>Part One of \u003cem>Hunger\u003c/em> sets the groundwork that Brownstein needed constant validation from new audiences. She’s occasionally self-mocking when she writes of her grabs for attention, but humor doesn’t drive her storytelling as much as self-awareness. The blunt, reflective tone is fitting for a book that doesn’t encompass Brownstein’s years as a comedic actress (or even her work with the band Wild Flag). \u003cem>Hunger\u003c/em> is a chronological memoir bookended by the implosion of Sleater-Kinney, with a short epilogue on the subsequent reformation of the band in more recent years. In Part Two, Brownstein gives the detailed explanations fans would expect about the stories behind the group’s songs, tours, romantic tensions, and recording sessions. But even these memories serve to underscore the underlying needing to be heard when you exist on the fringes of your family and your music scene. \u003c/p>\n\u003cfigure id=\"attachment_10618726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CB1.jpg\" alt=\"Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10618726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a fitting format for a book about a band that was passionately pushing up against societal constraints, and whose members were acutely aware of where they stood in the ’90s, especially against the reigning “slacker rock” performed by men like Beck, Rivers Cuomo of Weezer, and Stephen Malkmus of Pavement. Brownstein has a particularly poignant passage on this topic after calling out this trio of rock gods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Entitlement is a precarious place from which to create or perform,” she writes of the affected “slacker” apathy. “It projects the idea that you have nothing to prove, nothing to claim, nothing to show but self-satisfaction, a smug boredom… I don’t understand how someone would not push, challenge, or at least be present, how anyone could get onstage and not give \u003cem>everything\u003c/em>.”\u003c/p>\n\u003cp>In Sleater-Kinney, Brownstein gave so much that her body retreated into anxiety-driven illness towards the end of the group’s first run. She’d come down with hives, shingles, or panic attacks, and would have to suffer through or give up on tour. \u003c/p>\n\u003cp>In the end, we know both Brownstein and her renowned band persevered. And though \u003cem>Hunger\u003c/em> explores the gaping sadness caused by her insatiable need to be noticed, the memoir also proves it ultimately lead to much greater artistic strides.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Carrie Brownstein is in conversation with Dave Eggers on Wednesday, Nov. 4, at the San Francisco Jewish Community Center. The show is sold out, but the public is invited to watch the 8pm livestream of the interview at jccsf.org/ondemand.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best music memoirs operate as more than simply extended liner notes for nerdy completists — they also reveal the deeper emotional struggles driving artists from the margins to the mainstream. These transcendent narratives intimately map the psyches of cultural trailblazers such as Patti Smith, with the revealing \u003cem>M Train\u003c/em> and \u003cem>Just Kids\u003c/em>, or Sonic Youth’s Kim Gordon, who chronicled her rise from experimental artist to festival headliner in this year’s excellent memoir, \u003cem>Girl in a Band\u003c/em>. Now Carrie Brownstein enters the world of fearless rock memoirists with her beautifully written literary debut, \u003cem>Hunger Makes Me a Modern Girl\u003c/em>.\u003c/p>\n\u003cp>Brownstein possesses an enviable array of talents. She’s the co-frontwoman of the acclaimed Northwest rock trio Sleater-Kinney, whose ardent feminist anthems propelled the group from its Olympia roots to an international stage. She’s also the co-creator/co-star of the Emmy-nominated series \u003cem>Portlandia\u003c/em>, the IFC comedy steeped in hipster satire, and has a recurring role on the Amazon series \u003cem>Transparent\u003c/em>. She’s become a cultural critic as well over the past decade, sharpening her elegant prose as a \u003ca href=\"http://www.npr.org/series/129083641/the-best-of-monitor-mix-by-carrie-brownstein\" target=\"_blank\" rel=\"noopener\">columnist for NPR\u003c/a>. But the recurring theme in Brownstein’s memoir isn’t her many accomplishments; it’s the more interesting story of an anguished misfit battling to constantly calibrate her place in the world. \u003c/p>\n\u003cfigure id=\"attachment_11049568\" class=\"wp-caption alignright\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg\" alt=\"'Hunger Makes Me a Modern Girl.' (Penguin/Random House)\" width=\"806\" height=\"1217\" class=\"size-full wp-image-11049568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover.jpg 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CB.HungerCover-781x1180.jpg 781w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘Hunger Makes Me a Modern Girl.’ (Penguin/Random House)\u003c/figcaption>\u003c/figure>\n\u003cp>Brownstein’s struggle for visibility began at home in the suburbs of Seattle, where her parents’ personal crises subsumed their daughter’s needs. Take, for example, this passage on her mother, a woman she describes as becoming increasingly absorbed by anorexia: \u003c/p>\n\u003cblockquote>\u003cp>She was retreating from the world, a slow-motion magic trick. Meanwhile I was getting louder, angrier, wilder. I experimented with early forms of my own amplification — of self, of voice, of fury — while my mother’s volume was turned down lower and lower.\u003c/p>\u003c/blockquote>\n\u003cp>And then there’s her father, a man about whom she knew very little, despite growing up with him. He disappeared into a closeted life, awkwardly coming out to his daughter very in his 50s in a scene she describes as “typical, like he was just a sidekick in his own life, a shadow.”\u003c/p>\n\u003cp>Part One of \u003cem>Hunger\u003c/em> sets the groundwork that Brownstein needed constant validation from new audiences. She’s occasionally self-mocking when she writes of her grabs for attention, but humor doesn’t drive her storytelling as much as self-awareness. The blunt, reflective tone is fitting for a book that doesn’t encompass Brownstein’s years as a comedic actress (or even her work with the band Wild Flag). \u003cem>Hunger\u003c/em> is a chronological memoir bookended by the implosion of Sleater-Kinney, with a short epilogue on the subsequent reformation of the band in more recent years. In Part Two, Brownstein gives the detailed explanations fans would expect about the stories behind the group’s songs, tours, romantic tensions, and recording sessions. But even these memories serve to underscore the underlying needing to be heard when you exist on the fringes of your family and your music scene. \u003c/p>\n\u003cfigure id=\"attachment_10618726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CB1.jpg\" alt=\"Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10618726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CB1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Brownstein of Sleater-Kinney at the Masonic. May 2, 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a fitting format for a book about a band that was passionately pushing up against societal constraints, and whose members were acutely aware of where they stood in the ’90s, especially against the reigning “slacker rock” performed by men like Beck, Rivers Cuomo of Weezer, and Stephen Malkmus of Pavement. Brownstein has a particularly poignant passage on this topic after calling out this trio of rock gods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Entitlement is a precarious place from which to create or perform,” she writes of the affected “slacker” apathy. “It projects the idea that you have nothing to prove, nothing to claim, nothing to show but self-satisfaction, a smug boredom… I don’t understand how someone would not push, challenge, or at least be present, how anyone could get onstage and not give \u003cem>everything\u003c/em>.”\u003c/p>\n\u003cp>In Sleater-Kinney, Brownstein gave so much that her body retreated into anxiety-driven illness towards the end of the group’s first run. She’d come down with hives, shingles, or panic attacks, and would have to suffer through or give up on tour. \u003c/p>\n\u003cp>In the end, we know both Brownstein and her renowned band persevered. And though \u003cem>Hunger\u003c/em> explores the gaping sadness caused by her insatiable need to be noticed, the memoir also proves it ultimately lead to much greater artistic strides.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Carrie Brownstein is in conversation with Dave Eggers on Wednesday, Nov. 4, at the San Francisco Jewish Community Center. The show is sold out, but the public is invited to watch the 8pm livestream of the interview at jccsf.org/ondemand.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hearing Voices: 'Voz' by Luis Muñoz",
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"content": "\u003cp>Looking at the credits, \u003ca href=\"http://www.luismunoz.net\">Luis Muñoz\u003c/a>’s gorgeous new album \"Voz\" seems like it’s all over the map. And it is, in the best possible way. It is a project overstuffed with an international array of artists who have each made memorable recordings of their own, but \"Voz\" never suffers from a lack of focus.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/230869176\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A multi-instrumentalist who plays piano, percussion, melodica and drums, Muñoz guides the proceedings carefully as a composer and arranger. He doesn’t even play on every track, but his generous spirit suffuses the music from beginning to end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg\">\u003cimg class=\"alignleft wp-image-10739685\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg\" alt=\"VOZ\" width=\"257\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg 1400w\" sizes=\"(max-width: 257px) 100vw, 257px\">\u003c/a>As the title suggests, \"Voz\" is a project focusing on the human voice, and what voices! Muñoz showcases three remarkable women from across Latin America, creating bespoke compositions and arrangements to fit the contours of their unmistakable sounds. Like so many Latin American musicians who have settled in the United States in recent decades, Santa Barbara-based Muñoz has created a highly personal style that could be called Latin jazz, though it has little to do with the Afro-Cuban/jazz synthesis forged by Dizzy Gillespie, Chano Pozo and Mario Bauza in the 1940s.\u003c/p>\n\u003cp>Instead, he’s crafted a luscious sound that’s more interested in song form and creating evocative settings for lyrics than groove. He seems particularly inspired by \u003ca href=\"http://www.magosherrera.com\">Magos Herrera\u003c/a>, a captivating jazz singer born and raised in Mexico City and now based in New York. She’s the most prominently featured of the album’s singers, and Muñoz makes the most out of her sensuously throaty voice on the opening track “\u003ca href=\"https://www.youtube.com/watch?v=zJurCZDeFD8\">Preludio y Fin\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For players, Muñoz draws on a cast of longtime collaborators, including pianist Adam Asarnow, bassist Brendan Statom and guitarist Daniel Zimmerman. Each track features different instrumentation. On “Argentina,” an elegant setting for a lyric by Nicaraguan singer/songwriter Luis Enrique Mejía, Herrera engages in a hip-swaying dance with the flugelhorn of Jonathan Dane, whose self-possessed horn work provides the album with another striking voice.\u003c/p>\n\u003cp>Born and raised in Costa Rica, where he graduated from the National Conservatory, Muñoz moved to California in the mid-1970s to study music at UC Santa Barbara. He’s been there ever since, creating music for film, dance and theater, while documenting his own compositions on a series of acclaimed albums.\u003c/p>\n\u003cp>\"Voz\" is his most personal project yet, one that often finds him reaching back to his Central American roots for inspiration. “\u003ca href=\"https://www.youtube.com/watch?v=wlI_nm6rnBw\">Quisiera\u003c/a>” is a collaboration with multi-instrumentalist \u003ca href=\"http://www.grupomalpais.com/jaime_gamboa.php\">Jaime Gamboa\u003c/a>, a founding member of the great Costa Rican band Malpais. A lament for lost love, the song features a double dose of soul with vocals by São Paulo-raised, Southern California-based \u003ca href=\"http://www.newbossa.com\">Téka Penteriche\u003c/a> and Chile’s \u003ca href=\"http://www.marsalismusic.com/claudia-acuna\">Claudia Acuña\u003c/a>, a longtime force on the New York scene.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6fDsXNGADIE\u003c/p>\n\u003cp>What’s particularly impressive about \"Voz\" is Muñoz’s restraint and exquisite taste. On paper the album looks like it was conceived by a kid in a candy store, but his spacious orchestrations and measured tempos give the music plenty of room to breathe, even on the most intricately constructed tracks.\u003c/p>\n\u003cp>He leaves you wanting to hear more from every singer, particularly Téka, who shines on the undulating samba “Pasion,” which features a lyric by Panamanian songwriter Romulo Castro (best known for his work with Ruben Blades). The 86-year-old jazz great Ron Kalina provides gleaming counterpoint on chromatic harmonica.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album closes with the most intimate-sounding track, “Amanecer Luminoso,” or “Luminous Dawn,” a brief setting for a poem by Costa Rican literary lion Osvaldo Sauma featuring Magos Herrera, backed only by pianist Adam Asarnow. Muñoz doesn’t play on the piece, but as an artist attuned to the ephemeral nature of life and love, his voice comes through every track on \"Voz,\" a gossamer dreamscape of an album.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at the credits, \u003ca href=\"http://www.luismunoz.net\">Luis Muñoz\u003c/a>’s gorgeous new album \"Voz\" seems like it’s all over the map. And it is, in the best possible way. It is a project overstuffed with an international array of artists who have each made memorable recordings of their own, but \"Voz\" never suffers from a lack of focus.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/230869176&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/230869176'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A multi-instrumentalist who plays piano, percussion, melodica and drums, Muñoz guides the proceedings carefully as a composer and arranger. He doesn’t even play on every track, but his generous spirit suffuses the music from beginning to end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg\">\u003cimg class=\"alignleft wp-image-10739685\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg\" alt=\"VOZ\" width=\"257\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg 1400w\" sizes=\"(max-width: 257px) 100vw, 257px\">\u003c/a>As the title suggests, \"Voz\" is a project focusing on the human voice, and what voices! Muñoz showcases three remarkable women from across Latin America, creating bespoke compositions and arrangements to fit the contours of their unmistakable sounds. Like so many Latin American musicians who have settled in the United States in recent decades, Santa Barbara-based Muñoz has created a highly personal style that could be called Latin jazz, though it has little to do with the Afro-Cuban/jazz synthesis forged by Dizzy Gillespie, Chano Pozo and Mario Bauza in the 1940s.\u003c/p>\n\u003cp>Instead, he’s crafted a luscious sound that’s more interested in song form and creating evocative settings for lyrics than groove. He seems particularly inspired by \u003ca href=\"http://www.magosherrera.com\">Magos Herrera\u003c/a>, a captivating jazz singer born and raised in Mexico City and now based in New York. She’s the most prominently featured of the album’s singers, and Muñoz makes the most out of her sensuously throaty voice on the opening track “\u003ca href=\"https://www.youtube.com/watch?v=zJurCZDeFD8\">Preludio y Fin\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For players, Muñoz draws on a cast of longtime collaborators, including pianist Adam Asarnow, bassist Brendan Statom and guitarist Daniel Zimmerman. Each track features different instrumentation. On “Argentina,” an elegant setting for a lyric by Nicaraguan singer/songwriter Luis Enrique Mejía, Herrera engages in a hip-swaying dance with the flugelhorn of Jonathan Dane, whose self-possessed horn work provides the album with another striking voice.\u003c/p>\n\u003cp>Born and raised in Costa Rica, where he graduated from the National Conservatory, Muñoz moved to California in the mid-1970s to study music at UC Santa Barbara. He’s been there ever since, creating music for film, dance and theater, while documenting his own compositions on a series of acclaimed albums.\u003c/p>\n\u003cp>\"Voz\" is his most personal project yet, one that often finds him reaching back to his Central American roots for inspiration. “\u003ca href=\"https://www.youtube.com/watch?v=wlI_nm6rnBw\">Quisiera\u003c/a>” is a collaboration with multi-instrumentalist \u003ca href=\"http://www.grupomalpais.com/jaime_gamboa.php\">Jaime Gamboa\u003c/a>, a founding member of the great Costa Rican band Malpais. A lament for lost love, the song features a double dose of soul with vocals by São Paulo-raised, Southern California-based \u003ca href=\"http://www.newbossa.com\">Téka Penteriche\u003c/a> and Chile’s \u003ca href=\"http://www.marsalismusic.com/claudia-acuna\">Claudia Acuña\u003c/a>, a longtime force on the New York scene.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6fDsXNGADIE'\n title='//www.youtube.com/embed/6fDsXNGADIE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s particularly impressive about \"Voz\" is Muñoz’s restraint and exquisite taste. On paper the album looks like it was conceived by a kid in a candy store, but his spacious orchestrations and measured tempos give the music plenty of room to breathe, even on the most intricately constructed tracks.\u003c/p>\n\u003cp>He leaves you wanting to hear more from every singer, particularly Téka, who shines on the undulating samba “Pasion,” which features a lyric by Panamanian songwriter Romulo Castro (best known for his work with Ruben Blades). The 86-year-old jazz great Ron Kalina provides gleaming counterpoint on chromatic harmonica.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album closes with the most intimate-sounding track, “Amanecer Luminoso,” or “Luminous Dawn,” a brief setting for a poem by Costa Rican literary lion Osvaldo Sauma featuring Magos Herrera, backed only by pianist Adam Asarnow. Muñoz doesn’t play on the piece, but as an artist attuned to the ephemeral nature of life and love, his voice comes through every track on \"Voz,\" a gossamer dreamscape of an album.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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