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It’s clearly her accustomed habitat, and she obviously knows where she’s going and why, but it’s still the stage of the Opera House.\u003c/p>\n\u003cp>“If a handkerchief begins a scene in the pocket of a performer’s costume,” she explains, “and they walk onstage, drop it, and leave without it, then that handkerchief is wardrobe.” I gather my forces and follow; she’s explaining her job as a craftsperson in the props department here, where she has worked on and off for 19 years, and where, she says, it’s her joy to actually build things, to construct and sometimes design them from nothing. “On the other hand,” she continues, “if the handkerchief begins the scene onstage, and the performer walks out, picks it up, and leaves the stage holding it, then it’s a prop.”\u003c/p>\n\u003cp>And if it’s a prop, then Dawn Roth-Golden probably made it herself.\u003c/p>\n\u003cfigure id=\"attachment_11015916\" class=\"wp-caption alignright\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg\" alt=\"Dawn at work at the Moscone Center. \" width=\"397\" height=\"387\" class=\"size-full wp-image-11015916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone-32x32.jpg 32w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">Dawn at work at the Moscone Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, as she leads me up stairways and into so many elevators and warrens of offices and workshops that I lose any sense of direction, she motions me over to a railing. 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From the front, it looks like expensive designer furniture. \u003c/p>\n\u003cfigure id=\"attachment_11015917\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg\" alt=\"Roth-Golden is currently reworking this dragon skin -- which she designed and crafted -- for an upcoming production of 'The Magic Flute' with production design by Jun Kaneko.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11015917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Roth-Golden is currently reworking this dragon skin — which she designed and crafted — for an upcoming production of ‘The Magic Flute’ with production design by Jun Kaneko.\u003c/figcaption>\u003c/figure>\n\u003cp>Roth-Golden eyes the sofa as we pass, and leans over to smooth an imperceptible puffiness. It’s supposed to be flatter across the front, apparently. And the row of covered buttons on the bottom cushion — they ought to have been two inches further back to be really authentic, she says. I literally can’t see what she’s talking about and I’m standing right next to her.\u003c/p>\n\u003cp>I wonder about the longevity of her tenure here, and she immediately brightens to talk about her union. From her earliest involvement in theater — she went to junior colleges, worked with Luis Valdez’ El Teatro Campesino, and spent many “we did everything ourselves” years with Thunderbird Theatre here in San Francisco — she says she always knew that to consider herself a professional was to move up and into a union job. “What I love about I.A.T.S.E., and Local 16 especially, is that it’s so apprentice-based. You spend many years going through an apprentice program, where you learn about sound, you learn about rigging, you revisit a lot of mathematics that you in high school swore you would never use again, but then find yourself using on a daily basis.” \u003c/p>\n\u003cfigure id=\"attachment_11015918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg\" alt='In addition to her prop-department work, Roth-Golden also stage-manages with the \"great events for a greater good\" company Do Good Events.' width=\"800\" height=\"533\" class=\"size-full wp-image-11015918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to her prop-department work, Roth-Golden also stage-manages with the “great events for a greater good” company Do Good Events.\u003c/figcaption>\u003c/figure>\n\u003cp>As we tour the craft shop, where Roth-Golden’s colleague Sarah Shores is using rainbow-colored children’s tunnel-toys to make a two-headed snake/dragon, my host’s walkie-talkie crackles: “Hello Props. Is there anybody free upstairs that can come hang on the deck? The Patch is a beehive of activity; we’re needing magneting and sweeping.” \u003c/p>\n\u003cp>Roth-Golden responds instantly, cutting herself off mid-sentence. “I got it. I’ll do it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She turns to me, smiling. I don’t know what magneting is, but it’s something she thinks is going to be fun. “Copy that,” she tells the machine. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The backstage area at San Francisco’s War Memorial Opera House is exactly as cool as you’d think. Everything here is tilted, huge, or floodlit, and the roof is invisible.\u003c/p>\n\u003cp>Dawn Roth-Golden is walking coolly across the stage. Of the Opera House. It’s clearly her accustomed habitat, and she obviously knows where she’s going and why, but it’s still the stage of the Opera House.\u003c/p>\n\u003cp>“If a handkerchief begins a scene in the pocket of a performer’s costume,” she explains, “and they walk onstage, drop it, and leave without it, then that handkerchief is wardrobe.” I gather my forces and follow; she’s explaining her job as a craftsperson in the props department here, where she has worked on and off for 19 years, and where, she says, it’s her joy to actually build things, to construct and sometimes design them from nothing. “On the other hand,” she continues, “if the handkerchief begins the scene onstage, and the performer walks out, picks it up, and leaves the stage holding it, then it’s a prop.”\u003c/p>\n\u003cp>And if it’s a prop, then Dawn Roth-Golden probably made it herself.\u003c/p>\n\u003cfigure id=\"attachment_11015916\" class=\"wp-caption alignright\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg\" alt=\"Dawn at work at the Moscone Center. \" width=\"397\" height=\"387\" class=\"size-full wp-image-11015916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone-32x32.jpg 32w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">Dawn at work at the Moscone Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, as she leads me up stairways and into so many elevators and warrens of offices and workshops that I lose any sense of direction, she motions me over to a railing. We look down onto the world-class stage we’d just been standing on, partially set for the current production of \u003cem>Lucia di Lammermoor\u003c/em>. “So we’re on the 2-F shelf right now. The ‘F’ stands for fly-floor, so there’s 2-F, 3-F, 4-F, and then ‘the grid’ is above there.” She points up, and we can see curtains, screens, pipes, and wires, going up higher than the eye can track. Roth-Golden tells me the larger pipes hold electrical wires, and the smaller ones hoist both scenery and the drapes that create the proscenium. “They create the depth,” she says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roth-Golden has the kind of energy so many theater people share — she’s visibly strong, and capable to a near-intimidating degree. You know instinctually not to make a mistake around her, because if you do, she’ll read it back to you, fast. But as with all the other people we meet — stage electricians, woodworkers, video editors, stagehands, grips — she’s also battened-down calm. You may depend on her. Always. \u003c/p>\n\u003cp>“So mainly I do a lot of the soft works, like I did all of that bedding,” she says, pointing to a giant set piece identifiable only by the outsized “pillows” at one end. It’s big enough to be a little frightening, like a dream or a nightmare of a bed, very white. “And I upholstered that sofa.” The sofa is a black leather construction, square and mod. From the side, you can see its skeleton is askew, as if it had been blown or pushed backward. The stage is raked, so in order for people to actually be able to sit on the sofa and sing, it had to be made custom. Same goes for the matching metal-frame desk, and chairs, and lamp. From the front, it looks like expensive designer furniture. \u003c/p>\n\u003cfigure id=\"attachment_11015917\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg\" alt=\"Roth-Golden is currently reworking this dragon skin -- which she designed and crafted -- for an upcoming production of 'The Magic Flute' with production design by Jun Kaneko.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11015917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Roth-Golden is currently reworking this dragon skin — which she designed and crafted — for an upcoming production of ‘The Magic Flute’ with production design by Jun Kaneko.\u003c/figcaption>\u003c/figure>\n\u003cp>Roth-Golden eyes the sofa as we pass, and leans over to smooth an imperceptible puffiness. It’s supposed to be flatter across the front, apparently. And the row of covered buttons on the bottom cushion — they ought to have been two inches further back to be really authentic, she says. I literally can’t see what she’s talking about and I’m standing right next to her.\u003c/p>\n\u003cp>I wonder about the longevity of her tenure here, and she immediately brightens to talk about her union. From her earliest involvement in theater — she went to junior colleges, worked with Luis Valdez’ El Teatro Campesino, and spent many “we did everything ourselves” years with Thunderbird Theatre here in San Francisco — she says she always knew that to consider herself a professional was to move up and into a union job. “What I love about I.A.T.S.E., and Local 16 especially, is that it’s so apprentice-based. You spend many years going through an apprentice program, where you learn about sound, you learn about rigging, you revisit a lot of mathematics that you in high school swore you would never use again, but then find yourself using on a daily basis.” \u003c/p>\n\u003cfigure id=\"attachment_11015918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg\" alt='In addition to her prop-department work, Roth-Golden also stage-manages with the \"great events for a greater good\" company Do Good Events.' width=\"800\" height=\"533\" class=\"size-full wp-image-11015918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to her prop-department work, Roth-Golden also stage-manages with the “great events for a greater good” company Do Good Events.\u003c/figcaption>\u003c/figure>\n\u003cp>As we tour the craft shop, where Roth-Golden’s colleague Sarah Shores is using rainbow-colored children’s tunnel-toys to make a two-headed snake/dragon, my host’s walkie-talkie crackles: “Hello Props. Is there anybody free upstairs that can come hang on the deck? The Patch is a beehive of activity; we’re needing magneting and sweeping.” \u003c/p>\n\u003cp>Roth-Golden responds instantly, cutting herself off mid-sentence. “I got it. I’ll do it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She turns to me, smiling. I don’t know what magneting is, but it’s something she thinks is going to be fun. “Copy that,” she tells the machine. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy & David's Picks: Treasure Island, Modern Hula, and Twyla's 50th",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/10/TDL20151015.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Oct. 17–18\u003c/strong>: The \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>. Tucked in the middle of the Bay with stellar views, this year’s electronic and indie festival includes Chvrches, Deadmau5, FKA Twigs, Father John Misty, Big Grams and many, many others on two stages. New this year is a comedy lineup, while attendees still get to the island the same way they always have — from a free shuttle departing from SF. This is truly one of the Bay Area’s annual gems. \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–18\u003c/strong>: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Twyla Tharp 50th Anniversary Tour\u003c/a>. There aren’t very many figures that have had as much influence on modern dance as Tharp, and it’s hard to believe she founded her company 50 years ago — especially considering her use of progressive contemporary music from the likes of John Zorn, Henry Butler and Steven Bernstein. Three shows at Zellerbach Auditorium are poised to show why the \u003cem>New York Times\u003c/em> calls her “the queen of mixing vernacular dance and classical ballet.” \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 18\u003c/strong>: \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Paul Jacobs and Christine Brewer with the San Francisco Symphony\u003c/a>. An operatic soprano and a classical organist may seem like strange bedfellows, but then, this is Paul Jacobs and Christine Brewer we’re talking about here. Brewer, for her part, was the obvious replacement in 2006 when Renée Fleming had to call out sick at Festival del Solé, in Yountville; Jacobs has been one of the finest players of the organ in recent memory. The program includes Bach, Franck, Puccini, Reger, Boulanger, Handel and more. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17–25\u003c/strong>: \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu 30th Anniversary\u003c/a>. Patrick Makuakāne founded this dance company 30 years ago on the foundation of innovative choreography and musical choices, and has even led hula dances to the sounds of Lady Gaga. Citing hip-hop dance as a major inspiration, Makuakāne draws from past traditions while innovating the hula form for future generations. \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–Dec. 20\u003c/strong>: the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Pirates of Penzance\u003c/a>. Berkeley Rep stages this adaptation of Gilbert & Sullivan’s classic by the Hypocrites, a band of rebels from Chicago, who dethrone the masterwork with a sliver of snark and an abundance of skill. Banjos, beach balls, and guitars all come into play in this adaptation, which is the very model of a modern major musical. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 16\u003c/strong>: \u003ca href=\"http://www.gunbun.com/calendar\" target=\"_blank\" rel=\"noopener\">Fuzz and Mudhoney\u003c/a>. Ty Seagall’s “side project” has managed to achieve the momentum of any regular band, owing to the prolific nature of Seagall — who left SF for Los Angeles when the going got tough and the rents got high. His departure has only made him more active musically, though, and his presence behind the drum kit on this show in a 100-year-old-barn is hardly the highlight when Sub Pop’s finest “Touch Me I’m Sick” purveyors headline. \u003ca href=\"http://www.gunbun.com/calendar\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Oct. 17–18\u003c/strong>: The \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>. Tucked in the middle of the Bay with stellar views, this year’s electronic and indie festival includes Chvrches, Deadmau5, FKA Twigs, Father John Misty, Big Grams and many, many others on two stages. New this year is a comedy lineup, while attendees still get to the island the same way they always have — from a free shuttle departing from SF. This is truly one of the Bay Area’s annual gems. \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–18\u003c/strong>: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Twyla Tharp 50th Anniversary Tour\u003c/a>. There aren’t very many figures that have had as much influence on modern dance as Tharp, and it’s hard to believe she founded her company 50 years ago — especially considering her use of progressive contemporary music from the likes of John Zorn, Henry Butler and Steven Bernstein. Three shows at Zellerbach Auditorium are poised to show why the \u003cem>New York Times\u003c/em> calls her “the queen of mixing vernacular dance and classical ballet.” \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 18\u003c/strong>: \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Paul Jacobs and Christine Brewer with the San Francisco Symphony\u003c/a>. An operatic soprano and a classical organist may seem like strange bedfellows, but then, this is Paul Jacobs and Christine Brewer we’re talking about here. Brewer, for her part, was the obvious replacement in 2006 when Renée Fleming had to call out sick at Festival del Solé, in Yountville; Jacobs has been one of the finest players of the organ in recent memory. The program includes Bach, Franck, Puccini, Reger, Boulanger, Handel and more. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17–25\u003c/strong>: \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu 30th Anniversary\u003c/a>. Patrick Makuakāne founded this dance company 30 years ago on the foundation of innovative choreography and musical choices, and has even led hula dances to the sounds of Lady Gaga. Citing hip-hop dance as a major inspiration, Makuakāne draws from past traditions while innovating the hula form for future generations. \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–Dec. 20\u003c/strong>: the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Pirates of Penzance\u003c/a>. Berkeley Rep stages this adaptation of Gilbert & Sullivan’s classic by the Hypocrites, a band of rebels from Chicago, who dethrone the masterwork with a sliver of snark and an abundance of skill. Banjos, beach balls, and guitars all come into play in this adaptation, which is the very model of a modern major musical. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Declan Patrick MacManus was just 7, his father — a musician of Irish descent, with thick glasses and tousled black hair — left home. The boy grew up to be \u003ca href=\"http://www.npr.org/artists/15045892/elvis-costello\">Elvis Costello\u003c/a>, and throughout his career-spanning 674-page memoir, \u003cem>Unfaithful Music & Disappearing Ink,\u003c/em> the singer-songwriter grapples with that relationship and the parallels in their lives.\u003c/p>\n\u003cp>Costello and NPR’s Kelly McEvers recently discussed those familial similarities, the gap in his teeth and why Lorne Michaels will probably take the truth of Costello’s infamous \u003cem>Saturday Night Live\u003c/em> performance to his grave.\u003c/p>\n\u003cp>\u003cstrong>Both you and your dad wear glasses. At one point, you’re wearing the same kind of boots. You borrow his equipment. You know, his tape recorder, and at one point —\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>I was just a thief, really. That’s the truth of it. [Both laugh.]\u003c/p>\n\u003cp>\u003cstrong>At one point, you guys are even living in the same building. He’s remarried and you’re married, and you’re living up and downstairs from each other.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s right.\u003c/p>\n\u003cp>\u003cstrong>So you’re together a lot.\u003c/strong>\u003c/p>\n\u003cp>Actually, you know, the poignant thing about it is, towards the end of his life, he enjoyed the robust health of a man who knew about the restorative powers of Bushmills whiskey, and never took an aspirin until he was about 79 and then developed Parkinson’s. And when he was in his last illness, I sat and tried to talk to him and keep him in the present, because dementia was developing rapidly. And when I actually tried to recall our times together, I ran out of experiences very quickly. In fact, I may have written all of them down in the book. That’s how few there were.\u003c/p>\n\u003cp>\u003cstrong>There’s a chapter in the book that’s called “Unfaithful Music,” and that’s part of the title of this book. This chapter is about that great song of yours, “\u003ca href=\"https://www.youtube.com/watch?v=C9GlC9GyF4Y\" target=\"_blank\" rel=\"noopener\">Alison\u003c/a>,” and I was wondering if you could read Page 187. There’s two short paragraphs.\u003c/strong>\u003c/p>\n\u003cp>“I believed that ‘Alison’ was a work of fiction taking the sad face of a beautiful girl glimpsed by chance and imagining her life unraveling before her. It was a premonition, my fear that I would not be faithful, or that my disbelief in happy endings would lead me to kill the love that I had longed for.”\u003c/p>\n\u003cp>\u003cstrong>So, you have said that the sad face of this beautiful girl was somebody you saw in a supermarket.\u003c/strong>\u003c/p>\n\u003cp>That — I just supposed I had a momentary crush on this girl, but in a way, the song became a premonition of my own ability to be constant.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I mean, basically, you’re talking about being unfaithful to your wife; to your family?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Yeah, and your dad wasn’t faithful, either.\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>Do you think that in some ways you were bound to be like him?\u003c/strong>\u003c/p>\n\u003cp>No, I really don’t. That makes it less forgivable, because I don’t — I’m not inclined to say, “Like father, like son,” or that because I came from a gently broken home that I would inevitably break one up myself. I can acknowledge what’s in the past. You can’t go back and change it.\u003c/p>\n\u003cp>\u003cstrong>So, this was the late ’70s and you were making this very, in some ways, very catchy pop music. But there was, of course, a lot of other stuff going on in the ’70s in music with punk and rock. You weren’t necessarily the glamorous type — you weren’t doing the Ziggy Stardust shiny-jumpsuit thing.\u003c/strong>\u003c/p>\n\u003cp>I worked for Elizabeth Arden for a while.\u003c/p>\n\u003cp>\u003cstrong>Yes, you did!\u003c/strong>\u003c/p>\n\u003cp>I did for several years, and I could get cheap lipstick and cheap mascara, and I still never made it in glam rock.\u003c/p>\n\u003cp>\u003cstrong>[Laughs.] So, I mean, you did later get cast as the angry type.\u003c/strong>\u003c/p>\n\u003cp>I’ve explained that very clearly in the book.\u003c/p>\n\u003cp>\u003cstrong>You have.\u003c/strong>\u003c/p>\n\u003cp>I have. It’s because I have a gap in my teeth. And although this makes people such as Jerry Lewis and Jane Birkin sex symbols, it just makes me sound aggressive. A lot of air gets pressed out between that gap, and it makes everything I say sound like a provocation or a threat, and quite often — I mean, that’s really true. I’m making a joke, obviously, because there were things in the songs that I said emphatically and things I meant, and there was just something about my face that made people think they read them this way. And I certainly didn’t help myself by going along to my couple early interviews very drunk.\u003c/p>\n\u003cp>http://youtu.be/D8caBUVjWvA\u003c/p>\n\u003cp>\u003cstrong>You know, I think Americans might remember you — the sort of angry you — from an episode in 1977. You were appearing on \u003cem>Saturday Night Live;\u003c/em> you were supposed to play your latest single called “Less than Zero,” but then you played “Radio Radio.”\u003c/strong>\u003c/p>\n\u003cp>My argument was not really with \u003cem>SNL;\u003c/em> my argument was with my own record company, because they were just going on at me to do this song. And I said, “I’m not sure people even know what this song is about in America, because it was written about very specific English circumstances.” I had a brand-new song ready to go that I thought was the one we should play — and I did play — and because I didn’t tell the producers about it, it was a little bit of a stink, as they say. A kerfuffle. And we were told we would never work on American television again. There was a period where I didn’t appear on TV in America — about three years. It was 12 years before Lorne Michaels let me back in the building.\u003c/p>\n\u003cp>\u003cstrong>We read somewhere that Lorne Michaels was giving you the finger from the booth. Is that true?\u003c/strong>\u003c/p>\n\u003cp>I’m not going to say that’s true. Bill Murray told me that at the 25th-anniversary party. He said, “Don’t let Lorne tell you he was in on the joke. I remember him doing that.” So I’m not saying it; Bill is saying it. Lorne can take it up with Bill. I don’t know.\u003c/p>\n\u003cp>\u003cstrong>Your dad, he died in 2011. He had Parkinson’s, and then he had a brain tumor, and you write in the book that at one point you thought you couldn’t bear to write any more songs if you couldn’t play them for your father.\u003c/strong>\u003c/p>\n\u003cp>No, not write them so much as record them, because it was the taking the record home. I always used to like playing the record and seeing what he took out of it. He would always listen in and find the center of it for him, and I was always encouraged by that, because I know there is no one way to listen. There is no absolute right and wrong about music.\u003c/p>\n\u003cp>\u003cstrong>So, you write that you couldn’t record another song if you couldn’t play it —\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No, not for a while. No. And then I stumbled into a recording collaboration with \u003ca href=\"http://www.npr.org/artists/15121130/the-roots\">The Roots\u003c/a> and \u003ca href=\"http://www.npr.org/2013/09/22/224505408/questlove-and-elvis-costello-on-writing-together\">the oddest thing happened\u003c/a>: Quest[love] and a keyboard player who plays with The Roots sometimes, Ray Angry, sent me a composition, and within an hour or so I had written this song called “A Puppet Has Cut His Strings,” which was almost like a moment-by-moment recitation of my dad’s passing. And I told myself I wasn’t ready to write about that, or I would never write about it, but it just came out. In the end, music was playing in the room when my father left this earth, and I suppose that something that I returned to throughout the book [is] thinking about how music has served me as being my companion. It’s got me into all kinds of trouble, but also got me all sorts of things, as well; all sorts of experiences that I wouldn’t trade. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Declan Patrick MacManus was just 7, his father — a musician of Irish descent, with thick glasses and tousled black hair — left home. The boy grew up to be \u003ca href=\"http://www.npr.org/artists/15045892/elvis-costello\">Elvis Costello\u003c/a>, and throughout his career-spanning 674-page memoir, \u003cem>Unfaithful Music & Disappearing Ink,\u003c/em> the singer-songwriter grapples with that relationship and the parallels in their lives.\u003c/p>\n\u003cp>Costello and NPR’s Kelly McEvers recently discussed those familial similarities, the gap in his teeth and why Lorne Michaels will probably take the truth of Costello’s infamous \u003cem>Saturday Night Live\u003c/em> performance to his grave.\u003c/p>\n\u003cp>\u003cstrong>Both you and your dad wear glasses. At one point, you’re wearing the same kind of boots. You borrow his equipment. You know, his tape recorder, and at one point —\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>I was just a thief, really. That’s the truth of it. [Both laugh.]\u003c/p>\n\u003cp>\u003cstrong>At one point, you guys are even living in the same building. He’s remarried and you’re married, and you’re living up and downstairs from each other.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s right.\u003c/p>\n\u003cp>\u003cstrong>So you’re together a lot.\u003c/strong>\u003c/p>\n\u003cp>Actually, you know, the poignant thing about it is, towards the end of his life, he enjoyed the robust health of a man who knew about the restorative powers of Bushmills whiskey, and never took an aspirin until he was about 79 and then developed Parkinson’s. And when he was in his last illness, I sat and tried to talk to him and keep him in the present, because dementia was developing rapidly. And when I actually tried to recall our times together, I ran out of experiences very quickly. In fact, I may have written all of them down in the book. That’s how few there were.\u003c/p>\n\u003cp>\u003cstrong>There’s a chapter in the book that’s called “Unfaithful Music,” and that’s part of the title of this book. This chapter is about that great song of yours, “\u003ca href=\"https://www.youtube.com/watch?v=C9GlC9GyF4Y\" target=\"_blank\" rel=\"noopener\">Alison\u003c/a>,” and I was wondering if you could read Page 187. There’s two short paragraphs.\u003c/strong>\u003c/p>\n\u003cp>“I believed that ‘Alison’ was a work of fiction taking the sad face of a beautiful girl glimpsed by chance and imagining her life unraveling before her. It was a premonition, my fear that I would not be faithful, or that my disbelief in happy endings would lead me to kill the love that I had longed for.”\u003c/p>\n\u003cp>\u003cstrong>So, you have said that the sad face of this beautiful girl was somebody you saw in a supermarket.\u003c/strong>\u003c/p>\n\u003cp>That — I just supposed I had a momentary crush on this girl, but in a way, the song became a premonition of my own ability to be constant.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I mean, basically, you’re talking about being unfaithful to your wife; to your family?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Yeah, and your dad wasn’t faithful, either.\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>Do you think that in some ways you were bound to be like him?\u003c/strong>\u003c/p>\n\u003cp>No, I really don’t. That makes it less forgivable, because I don’t — I’m not inclined to say, “Like father, like son,” or that because I came from a gently broken home that I would inevitably break one up myself. I can acknowledge what’s in the past. You can’t go back and change it.\u003c/p>\n\u003cp>\u003cstrong>So, this was the late ’70s and you were making this very, in some ways, very catchy pop music. But there was, of course, a lot of other stuff going on in the ’70s in music with punk and rock. You weren’t necessarily the glamorous type — you weren’t doing the Ziggy Stardust shiny-jumpsuit thing.\u003c/strong>\u003c/p>\n\u003cp>I worked for Elizabeth Arden for a while.\u003c/p>\n\u003cp>\u003cstrong>Yes, you did!\u003c/strong>\u003c/p>\n\u003cp>I did for several years, and I could get cheap lipstick and cheap mascara, and I still never made it in glam rock.\u003c/p>\n\u003cp>\u003cstrong>[Laughs.] So, I mean, you did later get cast as the angry type.\u003c/strong>\u003c/p>\n\u003cp>I’ve explained that very clearly in the book.\u003c/p>\n\u003cp>\u003cstrong>You have.\u003c/strong>\u003c/p>\n\u003cp>I have. It’s because I have a gap in my teeth. And although this makes people such as Jerry Lewis and Jane Birkin sex symbols, it just makes me sound aggressive. A lot of air gets pressed out between that gap, and it makes everything I say sound like a provocation or a threat, and quite often — I mean, that’s really true. I’m making a joke, obviously, because there were things in the songs that I said emphatically and things I meant, and there was just something about my face that made people think they read them this way. And I certainly didn’t help myself by going along to my couple early interviews very drunk.\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/D8caBUVjWvA'\n title='//www.youtube.com/embed/D8caBUVjWvA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You know, I think Americans might remember you — the sort of angry you — from an episode in 1977. You were appearing on \u003cem>Saturday Night Live;\u003c/em> you were supposed to play your latest single called “Less than Zero,” but then you played “Radio Radio.”\u003c/strong>\u003c/p>\n\u003cp>My argument was not really with \u003cem>SNL;\u003c/em> my argument was with my own record company, because they were just going on at me to do this song. And I said, “I’m not sure people even know what this song is about in America, because it was written about very specific English circumstances.” I had a brand-new song ready to go that I thought was the one we should play — and I did play — and because I didn’t tell the producers about it, it was a little bit of a stink, as they say. A kerfuffle. And we were told we would never work on American television again. There was a period where I didn’t appear on TV in America — about three years. It was 12 years before Lorne Michaels let me back in the building.\u003c/p>\n\u003cp>\u003cstrong>We read somewhere that Lorne Michaels was giving you the finger from the booth. Is that true?\u003c/strong>\u003c/p>\n\u003cp>I’m not going to say that’s true. Bill Murray told me that at the 25th-anniversary party. He said, “Don’t let Lorne tell you he was in on the joke. I remember him doing that.” So I’m not saying it; Bill is saying it. Lorne can take it up with Bill. I don’t know.\u003c/p>\n\u003cp>\u003cstrong>Your dad, he died in 2011. He had Parkinson’s, and then he had a brain tumor, and you write in the book that at one point you thought you couldn’t bear to write any more songs if you couldn’t play them for your father.\u003c/strong>\u003c/p>\n\u003cp>No, not write them so much as record them, because it was the taking the record home. I always used to like playing the record and seeing what he took out of it. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, not for a while. No. And then I stumbled into a recording collaboration with \u003ca href=\"http://www.npr.org/artists/15121130/the-roots\">The Roots\u003c/a> and \u003ca href=\"http://www.npr.org/2013/09/22/224505408/questlove-and-elvis-costello-on-writing-together\">the oddest thing happened\u003c/a>: Quest[love] and a keyboard player who plays with The Roots sometimes, Ray Angry, sent me a composition, and within an hour or so I had written this song called “A Puppet Has Cut His Strings,” which was almost like a moment-by-moment recitation of my dad’s passing. And I told myself I wasn’t ready to write about that, or I would never write about it, but it just came out. In the end, music was playing in the room when my father left this earth, and I suppose that something that I returned to throughout the book [is] thinking about how music has served me as being my companion. It’s got me into all kinds of trouble, but also got me all sorts of things, as well; all sorts of experiences that I wouldn’t trade. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "SF Musician Katie Day Rides the Cubs' Success to Hometown Fame",
"title": "SF Musician Katie Day Rides the Cubs' Success to Hometown Fame",
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"content": "\u003cp>Ask a dozen musicians about their recipe for success given the current state of the music industry, and you're likely to get a dozen different answers: social media; commercial licensing; relentless, DIY touring.\u003c/p>\n\u003cp>One path you're not going to hear recommended very often: Write a highly specific, almost alarmingly prescient electro-pop fight song about a sports organization with the longest championship drought in the history of baseball -- and then have said team get really, really good. Like, decent chance of them making it to the World Series for the first time in 60 years good. History in the making good.\u003c/p>\n\u003cp>It might be a risky road to bet on, but for Katie Day -- Chicago native, San Francisco resident -- it's working out pretty damn well.\u003c/p>\n\u003cp>\"By the Lakeside,\" a song she wrote a year ago about what's going to happen when the Chicago Cubs finally win the World Series -- which hasn't happened since 1908, for those of you not keeping score -- recently landed Day on the front page of the Chicago \u003cem>Sun-Times. \u003c/em>As the Cubs sailed into the postseason\u003cem>, s\u003c/em>he \u003ca href=\"http://wgnradio.com/2015/10/01/musician-katie-day-by-the-lake/\" target=\"_blank\">performed live on WGN\u003c/a>, as well a handful of local talk radio stations and podcasts. Last week, the founder of the coveted indie studio recordings series Daytrotter got in touch to see if she'd like to \u003ca href=\"http://www.daytrotter.com/#!/concert/katie-day/21022485-373890631\" target=\"_blank\">do a session\u003c/a>: Turns out he's a lifelong Cubs fan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LSuc0G_QnUc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track -- an upbeat, hopeful anthem with a zippy, synth-driven hook -- would be a perfect backdrop, conveniently, for popping champagne. But a year ago, as she wrote in her bedroom while the news of the Giants' third World Series victory blared over the radio, Day's mood was considerably more sour.\u003c/p>\n\u003cp>\"Sports dynasties have been following me since I left home at 18,\" Day told me via email when I asked about her inspiration for the tune. (She's gone back to Chicago for the duration of the postseason, and notes that the Cubs have won 100 percent of the days she's been home.) She moved to Boston to study at the Berklee College of Music in 2003 -- and the Patriots won the Super Bowl. Then the Red Sox won two World Series. She's lived through three World Series wins in San Francisco, a '49ers NFC championship, and last year's Warriors championship.\u003c/p>\n\u003cp>\"My friends have joked for years about me moving to their cities to bring their sports teams luck,\" she says. \"But it sucks as a Chicago fan. It's like getting dumped repeatedly and having to celebrate all your friends' weddings. Always the bridesmaid...\"\u003c/p>\n\u003cp>When she wrote \"By the Lakeside\" last October, it was a way to document that frustration. But she also had an inkling the next year would be a good one.\u003c/p>\n\u003cp>\"I had a really good feeling about the rookies they were calling up from AAA and the direction the franchise was headed,\" she says. \"People have been saying, 'They'll be ready in 2016 or 2017' or 'They need more playoff experience,' to me all year, but as an artist, I have this 'Zen Mind, Beginner's Mind' perspective that begs to differ.\u003c/p>\n\u003cp>\"I think a precedent of failure can infiltrate your psyche and create a self-fulfilling prophecy, which is what the city of Chicago has been experiencing for the past century. But these kids don't have the experience of intense pressure and subsequent heartbreak to operate from. Everything is new to them and it's working in their favor. You just see them get out there and genuinely enjoy the game like kids on a sandlot and it's changing the mindset of the entire city.\"\u003c/p>\n\u003cfigure id=\"attachment_18465\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n.jpg\">\u003cimg class=\"size-thumbnail wp-image-18465\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-400x400.jpg\" alt=\""When you get to do an impromptu Daytrotter session bc the guy running the place is also a huge Cubs fan and y'all need to celebrate the wildcard win together." \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"When you get to do an impromptu Daytrotter session bc the guy running the place is also a huge Cubs fan and y'all need to celebrate the wildcard win together.\" \u003ccite>(Instagram / Katie Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reaction from Cubs fans, as well as local media, has been \"incredible.\"\u003c/p>\n\u003cp>\"If you had told me when I was 12, 'You're going to write a Cubs victory song and you're going to play it on WGN while they show the Cubs celebrating,' I would have been like, 'Yeah, that's the life for me.' The fact that my music is playing its own small part in this season is the most incredible confluence of dreams coming true, \" she says. \"So many strangers have reached out to me to tell me that this song made them believe again or that it made them cry or gave them chills, and I get emotional every time. Sometimes they're people who've been waiting their whole lives for this.\"\u003c/p>\n\u003cp>And yet: \"I'm still totally in love with the Bay,\" she promises. She'll return whenever the Cubs celebrations are over -- whenever that may be.\u003c/p>\n\u003cp>In the meantime: As I write this, the Cubs are leading the Cardinals 4-2 in the third inning of Game 4 of the NLDS. There are quite a few champagne bottles chilling in refrigerators all over the Midwest. But let's nobody get ahead of themselves.\u003c/p>\n\u003cp>\"As far as the remainder of the games go, I feel eerily calm, like Jake Arrieta's face,\" says Day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You never want to say too much because you don't want to jinx anything. But we're learning to rid ourselves of superstitions out here.\"\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\n",
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"excerpt": "Introducing a catchy new Cubs anthem, penned at a very, very convenient time. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask a dozen musicians about their recipe for success given the current state of the music industry, and you're likely to get a dozen different answers: social media; commercial licensing; relentless, DIY touring.\u003c/p>\n\u003cp>One path you're not going to hear recommended very often: Write a highly specific, almost alarmingly prescient electro-pop fight song about a sports organization with the longest championship drought in the history of baseball -- and then have said team get really, really good. Like, decent chance of them making it to the World Series for the first time in 60 years good. History in the making good.\u003c/p>\n\u003cp>It might be a risky road to bet on, but for Katie Day -- Chicago native, San Francisco resident -- it's working out pretty damn well.\u003c/p>\n\u003cp>\"By the Lakeside,\" a song she wrote a year ago about what's going to happen when the Chicago Cubs finally win the World Series -- which hasn't happened since 1908, for those of you not keeping score -- recently landed Day on the front page of the Chicago \u003cem>Sun-Times. \u003c/em>As the Cubs sailed into the postseason\u003cem>, s\u003c/em>he \u003ca href=\"http://wgnradio.com/2015/10/01/musician-katie-day-by-the-lake/\" target=\"_blank\">performed live on WGN\u003c/a>, as well a handful of local talk radio stations and podcasts. Last week, the founder of the coveted indie studio recordings series Daytrotter got in touch to see if she'd like to \u003ca href=\"http://www.daytrotter.com/#!/concert/katie-day/21022485-373890631\" target=\"_blank\">do a session\u003c/a>: Turns out he's a lifelong Cubs fan.\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/LSuc0G_QnUc'\n title='//www.youtube.com/embed/LSuc0G_QnUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track -- an upbeat, hopeful anthem with a zippy, synth-driven hook -- would be a perfect backdrop, conveniently, for popping champagne. But a year ago, as she wrote in her bedroom while the news of the Giants' third World Series victory blared over the radio, Day's mood was considerably more sour.\u003c/p>\n\u003cp>\"Sports dynasties have been following me since I left home at 18,\" Day told me via email when I asked about her inspiration for the tune. (She's gone back to Chicago for the duration of the postseason, and notes that the Cubs have won 100 percent of the days she's been home.) She moved to Boston to study at the Berklee College of Music in 2003 -- and the Patriots won the Super Bowl. Then the Red Sox won two World Series. She's lived through three World Series wins in San Francisco, a '49ers NFC championship, and last year's Warriors championship.\u003c/p>\n\u003cp>\"My friends have joked for years about me moving to their cities to bring their sports teams luck,\" she says. \"But it sucks as a Chicago fan. It's like getting dumped repeatedly and having to celebrate all your friends' weddings. Always the bridesmaid...\"\u003c/p>\n\u003cp>When she wrote \"By the Lakeside\" last October, it was a way to document that frustration. But she also had an inkling the next year would be a good one.\u003c/p>\n\u003cp>\"I had a really good feeling about the rookies they were calling up from AAA and the direction the franchise was headed,\" she says. \"People have been saying, 'They'll be ready in 2016 or 2017' or 'They need more playoff experience,' to me all year, but as an artist, I have this 'Zen Mind, Beginner's Mind' perspective that begs to differ.\u003c/p>\n\u003cp>\"I think a precedent of failure can infiltrate your psyche and create a self-fulfilling prophecy, which is what the city of Chicago has been experiencing for the past century. But these kids don't have the experience of intense pressure and subsequent heartbreak to operate from. Everything is new to them and it's working in their favor. You just see them get out there and genuinely enjoy the game like kids on a sandlot and it's changing the mindset of the entire city.\"\u003c/p>\n\u003cfigure id=\"attachment_18465\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n.jpg\">\u003cimg class=\"size-thumbnail wp-image-18465\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-400x400.jpg\" alt=\""When you get to do an impromptu Daytrotter session bc the guy running the place is also a huge Cubs fan and y'all need to celebrate the wildcard win together." \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/12105774_10100458188333909_8018388342060893088_n-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"When you get to do an impromptu Daytrotter session bc the guy running the place is also a huge Cubs fan and y'all need to celebrate the wildcard win together.\" \u003ccite>(Instagram / Katie Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reaction from Cubs fans, as well as local media, has been \"incredible.\"\u003c/p>\n\u003cp>\"If you had told me when I was 12, 'You're going to write a Cubs victory song and you're going to play it on WGN while they show the Cubs celebrating,' I would have been like, 'Yeah, that's the life for me.' The fact that my music is playing its own small part in this season is the most incredible confluence of dreams coming true, \" she says. \"So many strangers have reached out to me to tell me that this song made them believe again or that it made them cry or gave them chills, and I get emotional every time. Sometimes they're people who've been waiting their whole lives for this.\"\u003c/p>\n\u003cp>And yet: \"I'm still totally in love with the Bay,\" she promises. She'll return whenever the Cubs celebrations are over -- whenever that may be.\u003c/p>\n\u003cp>In the meantime: As I write this, the Cubs are leading the Cardinals 4-2 in the third inning of Game 4 of the NLDS. There are quite a few champagne bottles chilling in refrigerators all over the Midwest. But let's nobody get ahead of themselves.\u003c/p>\n\u003cp>\"As far as the remainder of the games go, I feel eerily calm, like Jake Arrieta's face,\" says Day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You never want to say too much because you don't want to jinx anything. But we're learning to rid ourselves of superstitions out here.\"\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Wayne Shorter, Legendary Saxophonist and Composer, is Still Searching",
"headTitle": "Wayne Shorter, Legendary Saxophonist and Composer, is Still Searching | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Wayne Shorter Quartet\u003c/h2>\n\u003cdiv class=\"event-desc\">Legendary saxophonist and composer appears four nights with quartet.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 15–18\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ, Miner Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>With all of the sudden twists, vertiginous swoops, and conceptual leaps to seemingly unrelated themes that eventually circle back to his initial notion, a conversation with \u003ca href=\"http://www.wayneshorter.com\" target=\"_blank\" rel=\"noopener\">Wayne Shorter\u003c/a> can feel a lot like one of his saxophone solos. Over the past 20 years I’ve interviewed him more than half a dozen times, and the experience is always a little disorienting as I trot behind him and try to keep up with his playful and disarmingly ingenuous turns of phrase.\u003c/p>\n\u003cp>A musical and intellectual explorer, the 82-year-old Shorter is far more than one of America’s greatest living composers. He’s an improviser working at the outer limits of group communication in a volatile quartet that often turns his classic, era-defining compositions into barely recognizable sonic fragments. Featuring Panamanian-born pianist \u003ca href=\"http://www.daniloperez.com\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a>, East Bay-raised bassist \u003ca href=\"http://www.johnpatitucci.com\" target=\"_blank\" rel=\"noopener\">John Patitucci\u003c/a> and Louisiana drummer \u003ca href=\"http://www.brianblade.com\" target=\"_blank\" rel=\"noopener\">Brian Blade\u003c/a>, the band opens a four-night run at the \u003ca href=\"http://www.sfjazz.org/events/2015-16/1015/wayne-shorter\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> on Oct. 15.\u003c/p>\n\u003cp>A creative force ever since joining drummer Art Blakey’s \u003ca href=\"https://www.youtube.com/watch?v=QDFP-YMubDc\" target=\"_blank\" rel=\"noopener\">Jazz Messengers\u003c/a> in 1959, Shorter has exponentially expanded jazz’s frontiers from deep within the tradition. He’s a sci-fi buff who often hangs out with scientists, and a famous cinephile who has spoken about the formative impact of seeing \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Red_Shoes_(1948_film)\" target=\"_blank\" rel=\"noopener\">The Red Shoes\u003c/a>\u003c/em>, Michael Powell’s classic 1948 film about a young ballerina’s sacrifices for her art. So it’s not surprising when he reframes my question about the quartet’s new music to explorer much larger, elemental ideas.\u003c/p>\n\u003cp>“My thing is not so much about sound and technique,” Shorter says, speaking by phone from his home in Los Angeles. “It’s what is music for? It doesn’t sooth the savage beast. People go to war beating drums. Like the two astronauts said as they got further and further way from Earth and see that blue dot, can you imagine fighting over a parking space?”\u003c/p>\n\u003cp>After the recent death of \u003ca href=\"http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Shorter and\u003ca href=\"http://sonnyrollins.com\" target=\"_blank\" rel=\"noopener\"> Sonny Rollins\u003c/a> remain the last two titans on the scene who transformed jazz in the 1950s and 60s (the seemingly indestructible drummer \u003ca href=\"https://en.wikipedia.org/wiki/Roy_Haynes\" target=\"_blank\" rel=\"noopener\">Roy Haynes\u003c/a> started shaking things up in the 1940s). And while Shorter isn’t deeply associated with the rhythmic, structural and harmonic freedom ushered in by Coleman, and expanded upon by \u003ca href=\"http://www.johncoltrane.com\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Ayler\" target=\"_blank\" rel=\"noopener\">Albert Ayler\u003c/a>, I couldn’t resist asking him whether he’d happened to catch Coleman’s epochal 1959 engagement at the Five Spot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t see him at the Five Spot, but it was a welcoming thing for me to hear Ornette, Trane, and Albert Ayler,” Shorter says. “The bands we were playing in, the Jazz Messengers, in a solo or a jam session we would put some of what we thought they were doing in a solo, but it was never recorded. Lee Morgan would say ‘Damn! We should have recorded that!’ In the studio we wondered if anything new from 1960-62 would be picked up 20 to 40 years from then.”\u003c/p>\n\u003cp>The answer to that question is a resounding yes. Shorter’s albums for Blue Note and the pioneering 1970s fusion band Weather Report, which he co-founded with Austrian-born pianist/keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Joe_Zawinul\" target=\"_blank\" rel=\"noopener\">Joe Zawinul\u003c/a>, continue to exert a profound influence on musicians around the world. But in the 1990s, Shorter was celebrated mostly for his past accomplishments — until he assembled his acoustic quartet with Blade, Pérez and Patitucci in 2000, a vehicle for radically reinventing his jazz standards like “Footprints,” “Orbits,” “JuJu” and “Sanctuary.”\u003c/p>\n\u003cp>The band has developed a group approach in which the players don’t so much solo as ease to the foreground. Shorter’s saxophone playing is more unpredictable than ever as his lines unfurl at an unhurried pace, pausing and then stutter-stepping ahead, only to twist in an unexpected direction. It’s as if this most elusive of jazz giants has decided to delve even more deeply into the mysterious places that produced his greatest work.\u003c/p>\n\u003cp>“Wayne’s thing is that he wants to hear the struggle, he wants everybody searching for it,” Patitucci told me in an interview several years ago. “Wayne says, ‘I don’t want you to play safe. Ever.’ He’s always been a big influence compositionally on me. But it’s tricky because you’re playing these amazing compositions, and then you go back and start writing some of your own music, and at first it felt like everything I came up with was trivial. I have all these Wayne melodies dancing around in my head.”\u003c/p>\n\u003cp>Each musician in the quartet is the center of his own bustling creative world. Patitucci recently released a gorgeous album, \u003cem>Brooklyn\u003c/em>, featuring his Electric Guitar Quartet with Blade. Blade leads the gospel-steeped Fellowship Band, and has emerged in recent years as a startlingly soulful singer/songwriter with his Mama Rose project. And Pérez, who runs the activism-oriented Berklee College of Music\u003ca href=\"https://www.berklee.edu/focused/global-jazz\" target=\"_blank\" rel=\"noopener\"> Global Jazz Institute\u003c/a>, founded the Panama Jazz Festival, which brings impoverished young musicians into contact with top-flight jazz players. The three musicians also recently released \u003cem>Children of the Light\u003c/em>, a consistently enthralling trio session dedicated to Shorter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shorter continues to ponder the big questions, knowing that seeking answers is more important than finding them, on and off the bandstand. “I think eternity is good thing to contemplate,” he says. “Life is so mysterious. We shouldn’t lock ourselves into what we’re doing in life as if we’re so sure of the dimensions of a certain kind of box we live in. You’ve got to get out of the box, and the sphere too.”\u003c/p>\n\n",
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"excerpt": "A musical and intellectual explorer, the 82-year-old saxophonist Wayne Shorter is one of America’s greatest living composers, working at the outer limits of group communication in his volatile quartet.",
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"headline": "Wayne Shorter, Legendary Saxophonist and Composer, is Still Searching",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Wayne Shorter Quartet\u003c/h2>\n\u003cdiv class=\"event-desc\">Legendary saxophonist and composer appears four nights with quartet.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 15–18\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ, Miner Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>With all of the sudden twists, vertiginous swoops, and conceptual leaps to seemingly unrelated themes that eventually circle back to his initial notion, a conversation with \u003ca href=\"http://www.wayneshorter.com\" target=\"_blank\" rel=\"noopener\">Wayne Shorter\u003c/a> can feel a lot like one of his saxophone solos. Over the past 20 years I’ve interviewed him more than half a dozen times, and the experience is always a little disorienting as I trot behind him and try to keep up with his playful and disarmingly ingenuous turns of phrase.\u003c/p>\n\u003cp>A musical and intellectual explorer, the 82-year-old Shorter is far more than one of America’s greatest living composers. He’s an improviser working at the outer limits of group communication in a volatile quartet that often turns his classic, era-defining compositions into barely recognizable sonic fragments. Featuring Panamanian-born pianist \u003ca href=\"http://www.daniloperez.com\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a>, East Bay-raised bassist \u003ca href=\"http://www.johnpatitucci.com\" target=\"_blank\" rel=\"noopener\">John Patitucci\u003c/a> and Louisiana drummer \u003ca href=\"http://www.brianblade.com\" target=\"_blank\" rel=\"noopener\">Brian Blade\u003c/a>, the band opens a four-night run at the \u003ca href=\"http://www.sfjazz.org/events/2015-16/1015/wayne-shorter\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> on Oct. 15.\u003c/p>\n\u003cp>A creative force ever since joining drummer Art Blakey’s \u003ca href=\"https://www.youtube.com/watch?v=QDFP-YMubDc\" target=\"_blank\" rel=\"noopener\">Jazz Messengers\u003c/a> in 1959, Shorter has exponentially expanded jazz’s frontiers from deep within the tradition. He’s a sci-fi buff who often hangs out with scientists, and a famous cinephile who has spoken about the formative impact of seeing \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Red_Shoes_(1948_film)\" target=\"_blank\" rel=\"noopener\">The Red Shoes\u003c/a>\u003c/em>, Michael Powell’s classic 1948 film about a young ballerina’s sacrifices for her art. So it’s not surprising when he reframes my question about the quartet’s new music to explorer much larger, elemental ideas.\u003c/p>\n\u003cp>“My thing is not so much about sound and technique,” Shorter says, speaking by phone from his home in Los Angeles. “It’s what is music for? It doesn’t sooth the savage beast. People go to war beating drums. Like the two astronauts said as they got further and further way from Earth and see that blue dot, can you imagine fighting over a parking space?”\u003c/p>\n\u003cp>After the recent death of \u003ca href=\"http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Shorter and\u003ca href=\"http://sonnyrollins.com\" target=\"_blank\" rel=\"noopener\"> Sonny Rollins\u003c/a> remain the last two titans on the scene who transformed jazz in the 1950s and 60s (the seemingly indestructible drummer \u003ca href=\"https://en.wikipedia.org/wiki/Roy_Haynes\" target=\"_blank\" rel=\"noopener\">Roy Haynes\u003c/a> started shaking things up in the 1940s). And while Shorter isn’t deeply associated with the rhythmic, structural and harmonic freedom ushered in by Coleman, and expanded upon by \u003ca href=\"http://www.johncoltrane.com\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Ayler\" target=\"_blank\" rel=\"noopener\">Albert Ayler\u003c/a>, I couldn’t resist asking him whether he’d happened to catch Coleman’s epochal 1959 engagement at the Five Spot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t see him at the Five Spot, but it was a welcoming thing for me to hear Ornette, Trane, and Albert Ayler,” Shorter says. “The bands we were playing in, the Jazz Messengers, in a solo or a jam session we would put some of what we thought they were doing in a solo, but it was never recorded. Lee Morgan would say ‘Damn! We should have recorded that!’ In the studio we wondered if anything new from 1960-62 would be picked up 20 to 40 years from then.”\u003c/p>\n\u003cp>The answer to that question is a resounding yes. Shorter’s albums for Blue Note and the pioneering 1970s fusion band Weather Report, which he co-founded with Austrian-born pianist/keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Joe_Zawinul\" target=\"_blank\" rel=\"noopener\">Joe Zawinul\u003c/a>, continue to exert a profound influence on musicians around the world. But in the 1990s, Shorter was celebrated mostly for his past accomplishments — until he assembled his acoustic quartet with Blade, Pérez and Patitucci in 2000, a vehicle for radically reinventing his jazz standards like “Footprints,” “Orbits,” “JuJu” and “Sanctuary.”\u003c/p>\n\u003cp>The band has developed a group approach in which the players don’t so much solo as ease to the foreground. Shorter’s saxophone playing is more unpredictable than ever as his lines unfurl at an unhurried pace, pausing and then stutter-stepping ahead, only to twist in an unexpected direction. It’s as if this most elusive of jazz giants has decided to delve even more deeply into the mysterious places that produced his greatest work.\u003c/p>\n\u003cp>“Wayne’s thing is that he wants to hear the struggle, he wants everybody searching for it,” Patitucci told me in an interview several years ago. “Wayne says, ‘I don’t want you to play safe. Ever.’ He’s always been a big influence compositionally on me. But it’s tricky because you’re playing these amazing compositions, and then you go back and start writing some of your own music, and at first it felt like everything I came up with was trivial. I have all these Wayne melodies dancing around in my head.”\u003c/p>\n\u003cp>Each musician in the quartet is the center of his own bustling creative world. Patitucci recently released a gorgeous album, \u003cem>Brooklyn\u003c/em>, featuring his Electric Guitar Quartet with Blade. Blade leads the gospel-steeped Fellowship Band, and has emerged in recent years as a startlingly soulful singer/songwriter with his Mama Rose project. And Pérez, who runs the activism-oriented Berklee College of Music\u003ca href=\"https://www.berklee.edu/focused/global-jazz\" target=\"_blank\" rel=\"noopener\"> Global Jazz Institute\u003c/a>, founded the Panama Jazz Festival, which brings impoverished young musicians into contact with top-flight jazz players. The three musicians also recently released \u003cem>Children of the Light\u003c/em>, a consistently enthralling trio session dedicated to Shorter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shorter continues to ponder the big questions, knowing that seeking answers is more important than finding them, on and off the bandstand. “I think eternity is good thing to contemplate,” he says. “Life is so mysterious. We shouldn’t lock ourselves into what we’re doing in life as if we’re so sure of the dimensions of a certain kind of box we live in. You’ve got to get out of the box, and the sphere too.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-its-like-to-see-president-obama-open-for-kanye-west",
"title": "What It's Like to See President Obama Open for Kanye West",
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"content": "\u003cp>\u003cstrong>I.\u003c/strong>\u003c/p>\n\u003cp>Her name is Karen Islas, and she is the first person in a long line that snakes around the block. She’s in her early 20s, lives in San Francisco, and is clutching a ticket to get inside the Warfield Theater. Unfazed by the wait, she talks in excited tones as a bomb squad truck drives slowly down Market Street. “We got here around 5:30 this morning,” she tells me. \u003c/p>\n\u003cp>There’s no name on the marquee above us, but there doesn’t need to be. Everyone knows that President Obama is due to speak. What’s more, he’s a “special guest” of a conspicuously strange bedfellow: the popular hip-hop artist Kanye West. Tickets to the fundraiser for the Democratic Hope Fund have set attendees back anywhere from $250 to $10,000, with a special $100 rate for students.\u003c/p>\n\u003cfigure id=\"attachment_11006849\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-11006849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>At a table on the sidewalk, friendly volunteers distribute will-call tickets next to a host of not-so-friendly Secret Service agents. Attendees arrive asking questions about bags, cameras, and seating, dressed in attire ranging from T-shirts and cutoffs to formal dresses and three-piece suits. A nearby news anchor reapplies face powder while telling her cameraman to avoid getting the Crazy Horse strip club in the shot. \u003c/p>\n\u003cp>I walk to the end of the line on Turk St., noting the overwhelmingly millennial crowd. I think of a text last night from my baby-boomer dad, joking that “I’d probably pay $250 to see Obama. But I might also pay another $250 to NOT see Kanye.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>II.\u003c/strong>\u003c/p>\n\u003cp>When I’d told friends I was seeing Obama and Kanye together, the consistent reaction was disbelief. Obama may be our \u003ca href=\"http://www.bohemian.com/northbay/hip-hop-president/Content?oid=2173004\" target=\"_blank\" rel=\"noopener\">first hip-hop president\u003c/a>, but he’s also the president who \u003ca href=\"https://www.youtube.com/watch?v=078BGtKNL1o\" target=\"_blank\" rel=\"noopener\">once called Kanye a “jackass.”\u003c/a> The two may both hail from Chicago’s South Side, but Obama definitely found his stride decades ago, while Kanye’s magnetism owes, at least partially, to the unpredictability of his every step.\u003c/p>\n\u003cfigure id=\"attachment_11006850\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>But let’s face it, this pairing is weird because of a basic reality: that the typical left-leaning, well-off, Prius-driving Obama-bumper-sticker Democrat, the type usually courted by political fundraisers, despises Kanye West. And they’re not here. The Democratic National Committee apparently banked on the hope that Kanye would attract younger voters to the event, and from the average age of the crowd, it’s worked.\u003c/p>\n\u003cp>I take my place in line and wonder how many other cities have a millennial population both willing and able to shell out $250 for an Obama-Kanye lineup. I get to talking to the girl in front of me in line, a Kanye fan, and it turns out she just moved to Cupertino one month ago to take a high-paying job at Apple. Bingo.\u003c/p>\n\u003cp>\u003cstrong>III.\u003c/strong>\u003c/p>\n\u003cp>After a bag check and metal detectors and pat-down, we’re in. The floor is reserved for the big donors ($5,000 for a photo with Obama; $10,000 for a reception), but the general-admission balcony fills up quickly. At one point, Stephen Curry walks in and the place goes bananas.\u003c/p>\n\u003cp>Mostly, we wait.\u003c/p>\n\u003cfigure id=\"attachment_11006853\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>We talk amongst ourselves, strangers getting to know each other over the next two hours. I talk with a young woman from Atlanta, here on an exchange program at Stanford for the semester, about the rappers Future and Young Thug. I talk with a Vallejo native about his challenges in teaching math and science at a community college. I talk with an Apple employee about \u003cem>The Circle\u003c/em>, and about the similarities between Dave Eggers’ novel and her daily life. We all talk about Obama.\u003c/p>\n\u003cp>Onstage, Oakland mayor Libby Schaaf introduces your NBA champions, the Golden State Warriors, and Stephen Curry has to talk loudly to overpower the cheers from the crowd. But that’s nothing compared to the uproar that comes next.\u003c/p>\n\u003cp>“Ladies and gentlemen,” intones the voice over the loudspeaker, “the President of the United States.”\u003c/p>\n\u003cp>\u003cstrong>IV.\u003c/strong>\u003c/p>\n\u003cp>I will now tell you something you already know: Obama is a \u003cem>stellar\u003c/em> public speaker. After the audience mayhem subsides, he cruises right into teasing Kanye for his maybe-serious / probably-not-serious presidential bid, which he \u003ca href=\"https://www.youtube.com/watch?v=u9x92nwGf_M\" target=\"_blank\" rel=\"noopener\">announced at the MTV Video Music Awards Awards while stoned\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11006852\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Obama throws in a subtle dig at the Kardashians by warning Kanye that the presidency means “you’ve got to spend a lot of time dealing with some strange characters who behave like they’re on a reality TV show.” He advises Kanye against airing his \u003ca href=\"https://en.wikipedia.org/wiki/My_Beautiful_Dark_Twisted_Fantasy\" target=\"_blank\" rel=\"noopener\">beautiful dark twisted fantasies\u003c/a>, quipping that “there are a lot of people who have lost their congressional seats saying things like that.”\u003c/p>\n\u003cp>Obama’s third suggestion brings the house down: “Do you really think,” \u003ca href=\"https://www.youtube.com/watch?v=mhFW2dK_sxk\" target=\"_blank\" rel=\"noopener\">the president asks Kanye\u003c/a>, “that this country is going to elect a black guy from the South Side of Chicago with a funny name to be president of the United States?”\u003c/p>\n\u003cp>\u003cstrong>V.\u003c/strong>\u003c/p>\n\u003cp>Experiencing important events in the modern world has become strange. We all feel pressure now to not simply experience them, but to document them. I film Obama for a while, and take some bad photos, until I remember that he is already the most documented man in the country. I put my phone away, and listen.\u003c/p>\n\u003cp>Obama talks about specific issues like marriage equality and climate change. Nine days after the Roseburg, Ore. shooting, he reiterates the need for stricter gun-control laws, garnering sustained applause. But it’s when he veers into broader messages about the democratic process that he really hypnotizes the crowd, ruminating on a responsibility all Americans share to make the country better; to expect the best of our fellow man; to participate, instead of resign oneself to disillusionment. \u003c/p>\n\u003cp>Someone yells from the nosebleeds: “FOUR MORE YEARS!”\u003c/p>\n\u003cfigure id=\"attachment_11006851\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>“Well, that we can’t do because Michelle is not going to let that happen,” Obama jokes, “and the Constitution forbids it. But I will be a citizen again, and I am going to be working alongside you.”\u003c/p>\n\u003cp>Alas, \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener\">no one man should have all that power\u003c/a>.\u003c/p>\n\u003cp>When Obama’s finished with his \u003ca href=\"http://blog.sfgate.com/nov05election/2015/10/10/obama-gives-political-advice-to-kanye-west-at-sf-fundraiser/\" target=\"_blank\" rel=\"noopener\">22-minute speech\u003c/a>, the community college teacher from Vallejo tells me that he’s constantly feeling that he should do more for his students, and that it gets overwhelming. Obama’s comments about gradual change, he tells me, help him remember that he just has to do \u003cem>something\u003c/em> to help every day, and over time it’ll add up. The long game. Pure Obama.\u003c/p>\n\u003cp>\u003cstrong>VI.\u003c/strong>\u003c/p>\n\u003cp>Kanye opens with “Power,” and the Warfield crowd erupts at his modified lyrics:\u003c/p>\n\u003cp>\u003cem>They say I was the next one up in Obama’s nation\u003cbr>\nWell that’s a pretty good way to start a conversation\u003c/em> \u003ca href=\"#foot\">*\u003c/a>\u003c/p>\n\u003cp>I’ve seen Kanye West three times, and I’ve never seen him as restrained and well-mannered as he is in this performance. He’s glossing over or dropping some lyrical obscenities, or else letting the crowd sing them; he’s not screaming lines; he’s not stopping songs halfway through to speak his mind.\u003c/p>\n\u003cfigure id=\"attachment_11006854\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he’s not talking between or during songs at all, which, for Kanye, is definitely unusual. During the bridge to “Runaway,” he doesn’t even serve up his usual \u003ca href=\"https://www.youtube.com/results?search_query=kanye+runaway+rant\" target=\"_blank\" rel=\"noopener\">stream-of-consciousness monologue\u003c/a>. Reports \u003ca href=\"http://jezebel.com/report-kanye-west-allowed-to-perform-not-to-advise-ob-1733504218\" target=\"_blank\" rel=\"noopener\">surfaced before the event\u003c/a> that Kanye had been restricted by the feds from giving the President any advice; I can only wonder if they’ve placed any requirements on the content of Kanye’s show itself.\u003c/p>\n\u003cp>This clean, polite Kanye is oddly fascinating. I think about an \u003ca href=\"https://www.youtube.com/watch?v=f1nzyRdp79A\" target=\"_blank\" rel=\"noopener\">MTV interview with Obama\u003c/a> from 2008, in which he opined that laws banning hip-hop fashions like sagging pants were a “waste of time,” adding, “Having said that, brothers should pull up their pants. You are walking by your mother, your grandmother, your underwear is showing. What’s wrong with that? Come on.”\u003c/p>\n\u003cp>Onstage, Kanye starts singing “Only One,” a sweet ballad to his two-year-old daughter.\u003c/p>\n\u003cp>\u003cem>The jackass has been tamed\u003c/em>, I think to myself. \u003cem>Kanye’s actually pulling up his pants for Obama.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>VII.\u003c/strong>\u003c/p>\n\u003cp>At the end of \u003ca href=\"http://www.setlist.fm/setlist/kanye-west/2015/the-warfield-san-francisco-ca-63f46edf.html\" target=\"_blank\" rel=\"noopener\">his nearly hour-long set\u003c/a>, during “Good Life,” Kanye hops off the stage and parades through the crowd, navigating a torrent of selfies. The lights come up. Flush-faced fans file toward the exit.\u003c/p>\n\u003cfigure id=\"attachment_11006855\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Was this a success, I wonder? Did the Democratic National Committee reel in the coveted millennial vote?\u003c/p>\n\u003cp>On the sidewalk outside, I get my answer talking with a college student who flew down from Eugene, Oregon, an hour away from Roseburg. She’s a Kanye West fan who doesn’t want to give her name, but she says Obama’s comments on gun control hit close to home, and his message resonated about each person doing their part. She hasn’t yet voted in any election, but tells me she plans to in 2016.\u003c/p>\n\u003cp>That about sums it up, doesn’t it?\u003cbr>\n\u003ca name=\"foot\">\u003c/a>\u003cbr>\n \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>* \u003cem>Hat tip to reader Dylan Swift for supplying Kanye’s modified lyrics.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Scenes from Saturday's fundraiser in San Francisco.",
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"headline": "What It's Like to See President Obama Open for Kanye West",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>I.\u003c/strong>\u003c/p>\n\u003cp>Her name is Karen Islas, and she is the first person in a long line that snakes around the block. She’s in her early 20s, lives in San Francisco, and is clutching a ticket to get inside the Warfield Theater. Unfazed by the wait, she talks in excited tones as a bomb squad truck drives slowly down Market Street. “We got here around 5:30 this morning,” she tells me. \u003c/p>\n\u003cp>There’s no name on the marquee above us, but there doesn’t need to be. Everyone knows that President Obama is due to speak. What’s more, he’s a “special guest” of a conspicuously strange bedfellow: the popular hip-hop artist Kanye West. Tickets to the fundraiser for the Democratic Hope Fund have set attendees back anywhere from $250 to $10,000, with a special $100 rate for students.\u003c/p>\n\u003cfigure id=\"attachment_11006849\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-11006849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>At a table on the sidewalk, friendly volunteers distribute will-call tickets next to a host of not-so-friendly Secret Service agents. Attendees arrive asking questions about bags, cameras, and seating, dressed in attire ranging from T-shirts and cutoffs to formal dresses and three-piece suits. A nearby news anchor reapplies face powder while telling her cameraman to avoid getting the Crazy Horse strip club in the shot. \u003c/p>\n\u003cp>I walk to the end of the line on Turk St., noting the overwhelmingly millennial crowd. I think of a text last night from my baby-boomer dad, joking that “I’d probably pay $250 to see Obama. But I might also pay another $250 to NOT see Kanye.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>II.\u003c/strong>\u003c/p>\n\u003cp>When I’d told friends I was seeing Obama and Kanye together, the consistent reaction was disbelief. Obama may be our \u003ca href=\"http://www.bohemian.com/northbay/hip-hop-president/Content?oid=2173004\" target=\"_blank\" rel=\"noopener\">first hip-hop president\u003c/a>, but he’s also the president who \u003ca href=\"https://www.youtube.com/watch?v=078BGtKNL1o\" target=\"_blank\" rel=\"noopener\">once called Kanye a “jackass.”\u003c/a> The two may both hail from Chicago’s South Side, but Obama definitely found his stride decades ago, while Kanye’s magnetism owes, at least partially, to the unpredictability of his every step.\u003c/p>\n\u003cfigure id=\"attachment_11006850\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>But let’s face it, this pairing is weird because of a basic reality: that the typical left-leaning, well-off, Prius-driving Obama-bumper-sticker Democrat, the type usually courted by political fundraisers, despises Kanye West. And they’re not here. The Democratic National Committee apparently banked on the hope that Kanye would attract younger voters to the event, and from the average age of the crowd, it’s worked.\u003c/p>\n\u003cp>I take my place in line and wonder how many other cities have a millennial population both willing and able to shell out $250 for an Obama-Kanye lineup. I get to talking to the girl in front of me in line, a Kanye fan, and it turns out she just moved to Cupertino one month ago to take a high-paying job at Apple. Bingo.\u003c/p>\n\u003cp>\u003cstrong>III.\u003c/strong>\u003c/p>\n\u003cp>After a bag check and metal detectors and pat-down, we’re in. The floor is reserved for the big donors ($5,000 for a photo with Obama; $10,000 for a reception), but the general-admission balcony fills up quickly. At one point, Stephen Curry walks in and the place goes bananas.\u003c/p>\n\u003cp>Mostly, we wait.\u003c/p>\n\u003cfigure id=\"attachment_11006853\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>We talk amongst ourselves, strangers getting to know each other over the next two hours. I talk with a young woman from Atlanta, here on an exchange program at Stanford for the semester, about the rappers Future and Young Thug. I talk with a Vallejo native about his challenges in teaching math and science at a community college. I talk with an Apple employee about \u003cem>The Circle\u003c/em>, and about the similarities between Dave Eggers’ novel and her daily life. We all talk about Obama.\u003c/p>\n\u003cp>Onstage, Oakland mayor Libby Schaaf introduces your NBA champions, the Golden State Warriors, and Stephen Curry has to talk loudly to overpower the cheers from the crowd. But that’s nothing compared to the uproar that comes next.\u003c/p>\n\u003cp>“Ladies and gentlemen,” intones the voice over the loudspeaker, “the President of the United States.”\u003c/p>\n\u003cp>\u003cstrong>IV.\u003c/strong>\u003c/p>\n\u003cp>I will now tell you something you already know: Obama is a \u003cem>stellar\u003c/em> public speaker. After the audience mayhem subsides, he cruises right into teasing Kanye for his maybe-serious / probably-not-serious presidential bid, which he \u003ca href=\"https://www.youtube.com/watch?v=u9x92nwGf_M\" target=\"_blank\" rel=\"noopener\">announced at the MTV Video Music Awards Awards while stoned\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11006852\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Obama throws in a subtle dig at the Kardashians by warning Kanye that the presidency means “you’ve got to spend a lot of time dealing with some strange characters who behave like they’re on a reality TV show.” He advises Kanye against airing his \u003ca href=\"https://en.wikipedia.org/wiki/My_Beautiful_Dark_Twisted_Fantasy\" target=\"_blank\" rel=\"noopener\">beautiful dark twisted fantasies\u003c/a>, quipping that “there are a lot of people who have lost their congressional seats saying things like that.”\u003c/p>\n\u003cp>Obama’s third suggestion brings the house down: “Do you really think,” \u003ca href=\"https://www.youtube.com/watch?v=mhFW2dK_sxk\" target=\"_blank\" rel=\"noopener\">the president asks Kanye\u003c/a>, “that this country is going to elect a black guy from the South Side of Chicago with a funny name to be president of the United States?”\u003c/p>\n\u003cp>\u003cstrong>V.\u003c/strong>\u003c/p>\n\u003cp>Experiencing important events in the modern world has become strange. We all feel pressure now to not simply experience them, but to document them. I film Obama for a while, and take some bad photos, until I remember that he is already the most documented man in the country. I put my phone away, and listen.\u003c/p>\n\u003cp>Obama talks about specific issues like marriage equality and climate change. Nine days after the Roseburg, Ore. shooting, he reiterates the need for stricter gun-control laws, garnering sustained applause. But it’s when he veers into broader messages about the democratic process that he really hypnotizes the crowd, ruminating on a responsibility all Americans share to make the country better; to expect the best of our fellow man; to participate, instead of resign oneself to disillusionment. \u003c/p>\n\u003cp>Someone yells from the nosebleeds: “FOUR MORE YEARS!”\u003c/p>\n\u003cfigure id=\"attachment_11006851\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>“Well, that we can’t do because Michelle is not going to let that happen,” Obama jokes, “and the Constitution forbids it. But I will be a citizen again, and I am going to be working alongside you.”\u003c/p>\n\u003cp>Alas, \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener\">no one man should have all that power\u003c/a>.\u003c/p>\n\u003cp>When Obama’s finished with his \u003ca href=\"http://blog.sfgate.com/nov05election/2015/10/10/obama-gives-political-advice-to-kanye-west-at-sf-fundraiser/\" target=\"_blank\" rel=\"noopener\">22-minute speech\u003c/a>, the community college teacher from Vallejo tells me that he’s constantly feeling that he should do more for his students, and that it gets overwhelming. Obama’s comments about gradual change, he tells me, help him remember that he just has to do \u003cem>something\u003c/em> to help every day, and over time it’ll add up. The long game. Pure Obama.\u003c/p>\n\u003cp>\u003cstrong>VI.\u003c/strong>\u003c/p>\n\u003cp>Kanye opens with “Power,” and the Warfield crowd erupts at his modified lyrics:\u003c/p>\n\u003cp>\u003cem>They say I was the next one up in Obama’s nation\u003cbr>\nWell that’s a pretty good way to start a conversation\u003c/em> \u003ca href=\"#foot\">*\u003c/a>\u003c/p>\n\u003cp>I’ve seen Kanye West three times, and I’ve never seen him as restrained and well-mannered as he is in this performance. He’s glossing over or dropping some lyrical obscenities, or else letting the crowd sing them; he’s not screaming lines; he’s not stopping songs halfway through to speak his mind.\u003c/p>\n\u003cfigure id=\"attachment_11006854\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he’s not talking between or during songs at all, which, for Kanye, is definitely unusual. During the bridge to “Runaway,” he doesn’t even serve up his usual \u003ca href=\"https://www.youtube.com/results?search_query=kanye+runaway+rant\" target=\"_blank\" rel=\"noopener\">stream-of-consciousness monologue\u003c/a>. Reports \u003ca href=\"http://jezebel.com/report-kanye-west-allowed-to-perform-not-to-advise-ob-1733504218\" target=\"_blank\" rel=\"noopener\">surfaced before the event\u003c/a> that Kanye had been restricted by the feds from giving the President any advice; I can only wonder if they’ve placed any requirements on the content of Kanye’s show itself.\u003c/p>\n\u003cp>This clean, polite Kanye is oddly fascinating. I think about an \u003ca href=\"https://www.youtube.com/watch?v=f1nzyRdp79A\" target=\"_blank\" rel=\"noopener\">MTV interview with Obama\u003c/a> from 2008, in which he opined that laws banning hip-hop fashions like sagging pants were a “waste of time,” adding, “Having said that, brothers should pull up their pants. You are walking by your mother, your grandmother, your underwear is showing. What’s wrong with that? Come on.”\u003c/p>\n\u003cp>Onstage, Kanye starts singing “Only One,” a sweet ballad to his two-year-old daughter.\u003c/p>\n\u003cp>\u003cem>The jackass has been tamed\u003c/em>, I think to myself. \u003cem>Kanye’s actually pulling up his pants for Obama.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>VII.\u003c/strong>\u003c/p>\n\u003cp>At the end of \u003ca href=\"http://www.setlist.fm/setlist/kanye-west/2015/the-warfield-san-francisco-ca-63f46edf.html\" target=\"_blank\" rel=\"noopener\">his nearly hour-long set\u003c/a>, during “Good Life,” Kanye hops off the stage and parades through the crowd, navigating a torrent of selfies. The lights come up. Flush-faced fans file toward the exit.\u003c/p>\n\u003cfigure id=\"attachment_11006855\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Was this a success, I wonder? Did the Democratic National Committee reel in the coveted millennial vote?\u003c/p>\n\u003cp>On the sidewalk outside, I get my answer talking with a college student who flew down from Eugene, Oregon, an hour away from Roseburg. She’s a Kanye West fan who doesn’t want to give her name, but she says Obama’s comments on gun control hit close to home, and his message resonated about each person doing their part. She hasn’t yet voted in any election, but tells me she plans to in 2016.\u003c/p>\n\u003cp>That about sums it up, doesn’t it?\u003cbr>\n\u003ca name=\"foot\">\u003c/a>\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>* \u003cem>Hat tip to reader Dylan Swift for supplying Kanye’s modified lyrics.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Happy 20th Birthday, \"Wonderwall\"",
"title": "Happy 20th Birthday, \"Wonderwall\"",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Twenty years ago this week, Oasis released \u003cem>(What's the Story) Morning Glory?, \u003c/em>the band's second studio album --12 tracks, just over 50 minutes of music -- and thereafter, the world was never the same.\u003c/p>\n\u003cp>Well, that's not true. The record did catapult the perpetually cranky alt-Britpoppers from relatively low-key indie act to worldwide critical and commercial success. It sold 347,000 copies in its first week, spent 10 weeks at #1 on the UK Albums Chart, and hit #4 on the Billboard 200. As of 2011, it had sold more than 20 million copies worldwide. It's a very, very good album.\u003c/p>\n\u003cp>But let's be real: the biggest and most lasting impact \u003cem>WTSMG\u003c/em> has had on pop culture was birthing, nurturing and encouraging a neverending supply of doofy 19-year-old dudes who recently learned to play guitar and want to know if maybe you'd like to go back to their room to watch them perform their heartfelt cover of \"Wonderwall.\"\u003c/p>\n\u003cp>I've often fantasized about creating a compilation record, a sort of spinoff from the unstoppable \u003cem>Now That's What I Call Music!\u003c/em> series, called \u003cem>Now That's What I Call Music That One Guy From Your Freshman Dorm Is Always Playing In the Common Area, Taking It Really Seriously With His Eyes Closed and Everything, Trying To Impress a Different Girl Every Time, No Really Dude You Should Learn Another Song\u003c/em>. The album would have 12 tracks that are all just \"Wonderwall.\"\u003c/p>\n\u003cp>It's understandable that this song, in particular, attracted such a specific following. The chord changes are relatively simple, the vocal range not terribly demanding. But the specific sneer in Gallagher's throat coupled with the bittersweet lyrics, the almost cinematic drumming, the interplay between guitar and the swell of the string section -- they're all \u003cem>necessary\u003c/em>, and it's a tougher song to replicate well than you might think.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qj_wpkSn27E\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-9UADfJS8vA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PoLmYxE-eHo\u003c/p>\n\u003cp>This kid seems to think the Ed Sheeran cover was the original?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YWXvXIJAcqE\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tpOqSCsS-z4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZMaG4wy9ies\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wllmWveUmXk\u003c/p>\n\u003cp>Actually, that last guy's cool with me.\u003c/p>\n\u003cp>In any event! \u003cem>(What's the Story) Morning Glory?\u003c/em>, we wish you a hearty, healthy, expletive-filled birthday. Noel Gallagher wouldn't have it any other way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rfNqyjZcleI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "A heartfelt celebration of the Song Most Likely To Be Covered By That One Guy In Your College Dorm. ",
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"content": "\u003cp>It’s an after-school ritual for Abigayle de la Rosa to stop at La Original Paleteria y Neveria (The Original Ice Cream Shop) and get a scoop of Mexican ice cream in her bustling San Jose neighborhood, called Calle Willow.\u003c/p>\n\u003cp>Since it opened on Willow Street a year ago, the shop has \u003ca href=\"http://ww2.kqed.org/news/2015/10/09/viva-callesj-san-jose-street-festival\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/10/09/viva-callesj-san-jose-street-festival\" target=\"_blank\" title=\"Viva CalleSJ: A Street Festival to Connect San Jose Residents, Neighborhoods\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/10/20151009tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Now through Feb. 7, 2016: \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">William Wegman: “Artists Including Me.”\u003c/a> \u003c/strong>Now credited with being one \u003cstrong>of the earliest web-based video artists, \u003c/strong>Wegman works also visual and verbal puns into his photos, paintings and drawings, never taking himself too seriously. \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9 – Sunday, Oct. 11: \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">Bread and Puppet Theater\u003c/a>. \u003c/strong>This eccentric, 50-year-old troupe embraces music, puppets and stilt-walkers, pageantry and politics. They perform twice in San Francisco this weekend; \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Patrick Watson\u003c/a>.\u003c/strong> The singer’s new \u003cem>Love Songs For Robots contains \u003c/em>lyrics both dark and whimsical, rock and roll, R&B and a “zest” of folk. \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Sparks and Franz Ferdinand.\u003c/a> \u003c/strong>See what happens when 40-year-old American band Sparks teams up with Scottish indie rockers Franz Ferdinand, after trading songs across the Atlantic. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Litquake Presents Boots Riley\u003c/a>. \u003c/strong>The annual festival of all things literary kicks off Friday, Oct. 9, and there are more events than we could possibly list here. Tonight, the fest hosts one of the Bay Area’s most beloved (and controversial) hip-hop figures, reading his book \u003cem>Tell Homeland Security — We Are the Bomb. \u003c/em>Bonus: Panel featuring W. Kamau Bell. \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Now through Feb. 7, 2016: \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">William Wegman: “Artists Including Me.”\u003c/a> \u003c/strong>Now credited with being one \u003cstrong>of the earliest web-based video artists, \u003c/strong>Wegman works also visual and verbal puns into his photos, paintings and drawings, never taking himself too seriously. \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9 – Sunday, Oct. 11: \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">Bread and Puppet Theater\u003c/a>. \u003c/strong>This eccentric, 50-year-old troupe embraces music, puppets and stilt-walkers, pageantry and politics. They perform twice in San Francisco this weekend; \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Patrick Watson\u003c/a>.\u003c/strong> The singer’s new \u003cem>Love Songs For Robots contains \u003c/em>lyrics both dark and whimsical, rock and roll, R&B and a “zest” of folk. \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Sparks and Franz Ferdinand.\u003c/a> \u003c/strong>See what happens when 40-year-old American band Sparks teams up with Scottish indie rockers Franz Ferdinand, after trading songs across the Atlantic. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Litquake Presents Boots Riley\u003c/a>. \u003c/strong>The annual festival of all things literary kicks off Friday, Oct. 9, and there are more events than we could possibly list here. Tonight, the fest hosts one of the Bay Area’s most beloved (and controversial) hip-hop figures, reading his book \u003cem>Tell Homeland Security — We Are the Bomb. \u003c/em>Bonus: Panel featuring W. Kamau Bell. \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I was talking with a friend recently about how, in this age of perpetual social media connection, it's easy to develop a distorted sense of which issues actually matter to the American populace at large: You tend to be friends with, or follow, people who agree with you on social and political issues, or at the very least share some basic interests. As a lady and a music journalist, I know that my news feeds reflect a higher level of concern about sexism in the entertainment industry than I should probably, realistically, ascribe to Joe the Plumber (or whomever we're using as the personification of the American middle-class during this election cycle).\u003c/p>\n\u003cp>\u003cem>That said:\u003c/em> In the past 48 hours, two different interviews with two very different female musicians, conducted in two different mediums -- \u003ca href=\"http://www.npr.org/2015/10/06/446083413/chrissie-hynde-im-just-telling-my-story\" target=\"_blank\">one with Chrissie Hynde of the Pretenders, on NPR\u003c/a>, and another with \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html\" target=\"_blank\">Nicki Minaj, who graces the cover of this week's \u003cem>New York Times Magazine\u003c/em>\u003c/a> -- have been flying around \"my\" Internet with such ubiquity that it gave me pause.\u003c/p>\n\u003cp>In essence, both interviews include sections where their subjects get annoyed with a question from their interviewer, questions they don't feel they should have to answer, and decide to say as much.\u003c/p>\n\u003cp>In Hynde's case -- after sitting through \u003ca href=\"http://www.edrants.com/in-defense-of-chrissie-hynde-why-npr-needs-to-change-and-why-david-greene-is-a-sexist-fool/\" target=\"_blank\">a line of questioning from NPR's David Greene that's clumsy at best\u003c/a> -- she expresses annoyance at his wanting her to simply repeat anecdotes from her recently published memoir, \u003cem>Reckless.\u003c/em>\u003c/p>\n\u003cp>First, Greene mentions how she was influenced by the Rolling Stones, a non-question that prompts a justifiable \"Is that your question?\" from Hynde, whom Greene notes at the conversation's outset is a notoriously tough interview. (She's also a bonafide, old-school rock star.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I'm not gonna tell you that story because I already wrote it in the book,\" she then says, exasperated, when prompted to repeat the details of a controversial section in which Hynde recalls being assaulted by a group of bikers sometime in her early '20s.\u003c/p>\n\u003cp>She never refers to it as rape, and has \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/10/the-public-shaming-of-chrissie-hynde/409234/\" target=\"_blank\">said some things I vehemently disagree with about women needing to \"take responsibility\" for how they dress and behave in such situations\u003c/a> -- but, for our purposes here, that's beside the point. Greene is asking for the memoir's highlight reel, and in this case the highlights are some intensely personal revelations that Hynde doesn't really feel like reciting.\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html?_r=0\" target=\"_blank\">Minaj interview\u003c/a>, writer Vanessa Grigoriadis notes a number of instances in which the pop star refuses to answer questions.\u003c/p>\n\u003cp>\"I don’t even want to discuss that. That’s so old to me,\" says Minaj with an air of disgust when Grigoriadis asks how the singer was influenced by Lady Gaga's tendency toward costumes as performance art. She brushes off a question about her career's chronology in the early days, when she used to sell tapes out of her car, as \"dumb.\" But the (diamond-covered) gloves really come off when the journalist asks if Minaj might possibly \"thrive\" on drama, like the beef between her boyfriend, Meek Mill, and her label mate, Drake.\u003c/p>\n\u003cp>Every one of the angry words Minaj lobs at Grigoriadis in response -- \"rude,\" \"troublemaker,\" \"Do not speak to me like I’m stupid or beneath you in any way,\" and, lastly, \"I don’t care to speak to you anymore\" -- is arguably deserved, and the writer acknowledges as much, stating that she regretted the question as soon as it passed her lips. I actually really enjoyed this profile, and I think Grigoriadis tried to do right by Minaj. But the feeling the reader is left with, as Grigoriadis slinks away from the pop star's apartment, is one of Minaj being, yes, \"difficult.\"\u003c/p>\n\u003cp>So: Let's talk about this notion of celebrities being \"difficult.\" When a famous person gives an interview, it is usually because they have a new product -- a film, a book, an album -- to promote. And what we are measuring when we discuss how easy or tough of an interview they are, really, is their willingness to play ball: to answer the same questions over and over, to repeat sound bytes, to seem affable while they probably want to slit their throat. This is part of your job when you are a famous person and I don't exactly feel sympathy for most multi-millionaires when they have to sit through a few hackneyed conversations in order to make more millions.\u003c/p>\n\u003cp>And yet. How much of a person, exactly, are we owed in this format? \u003ca href=\"https://www.youtube.com/watch?v=ALBwaO-rAsE\" target=\"_blank\">Robert Downey Jr. famously stormed out of a press junket interview \u003c/a>earlier this year when the reporter veered off-course, asking questions about his past substance abuse; the actor was mostly applauded for it. \u003cspan style=\"font-weight: 400\">Lou Reed was aggressively obnoxious in interviews with such consistency that it became a part of his persona; besides, it felt earned. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how, exactly, did he earn it? \u003c/span>Where are the lines between \"justifiably annoyed\" and \"difficult\" and \"such a badass, you can do whatever you want\"? Do they move depending on what type of performer you are? Your genre? Your gender?\u003c/p>\n\u003cp>Beyoncé's chosen to dodge the question (and the print media) entirely as of late, and in return The \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/08/20/fashion/beyonce-is-seen-but-not-heard.html?_r=0\" target=\"_blank\">ran a story whose entire thesis was that Beyoncé hasn't been giving interviews\u003c/a> lately. Meanwhile, this week's issue of \u003cem>Rolling Stone \u003c/em>promises \u003ca href=\"http://www.rollingstone.com/music/features/keith-richards-on-getting-busted-zeppelin-and-stones-future-20151008\" target=\"_blank\">the most \"revealing\" interview Keith Richards has granted in decades\u003c/a>. That's presented as a gift -- there's no private-life debt, so to speak, that's owed.\u003c/p>\n\u003cp>Yes, there's an argument to be made that Hynde, in particular, was simply being asked to discuss material from the very thing she was on air to sell. But the response to both interviews, and the speed with which many are happy to simply cast both women as unnecessarily angry or contrary, raises questions for me about what we expect -- what we feel we \u003cem>deserve\u003c/em> -- from our famous women, and why.\u003c/p>\n\u003cp>\"The draw of an album made by a woman is not to consume what she’s created, but to traverse a pipeline directly to her being,\" wrote Sasha Geffen in \u003ca href=\"http://thenewinquiry.com/essays/radical-strain/\" target=\"_blank\">an insightful essay for The New Inquiry\u003c/a>, a piece I've revisited many times in the year since it was published. \"She didn’t make the product; she is the product.\"\u003c/p>\n\u003cp>Geffen was writing primarily about music critics' tendency to treat female talent as effortless while men are granted agency, but I think the sentiment crosses art forms. We can all agree that Robert Downey Jr. shouldn't have to discuss personal problems in every interview for the rest of his life. Should Nicki Minaj? Does this contract change when your public persona is purposefully larger than life? How about when you routinely use mediums you control, like Twitter, to share opinions you \u003cem>do\u003c/em> feel should be public --\u003ca href=\"http://www.thedailybeast.com/articles/2015/10/08/nicki-minaj-teaches-miley-cyrus-a-lesson-about-white-privilege.html\" target=\"_blank\"> like comments on racism in your industry?\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I'll leave you with this: A study released last month by researchers at Arizona State University and the University of Illinois that most likely surprised some men and exactly zero women showed that \u003ca href=\"http://www.psmag.com/politics-and-law/anger-reduces-womens-ability-to-influence-others\" target=\"_blank\">women who express anger lose respect from their peers\u003c/a>, while men actually gain it. \u003c/span>\u003c/p>\n\u003cp>I'd be interested to hear what Hynde and Minaj would have to say about those findings. Journalists interviewing female celebrities, there's a free question for ya! Hope the answers aren't too difficult.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was talking with a friend recently about how, in this age of perpetual social media connection, it's easy to develop a distorted sense of which issues actually matter to the American populace at large: You tend to be friends with, or follow, people who agree with you on social and political issues, or at the very least share some basic interests. As a lady and a music journalist, I know that my news feeds reflect a higher level of concern about sexism in the entertainment industry than I should probably, realistically, ascribe to Joe the Plumber (or whomever we're using as the personification of the American middle-class during this election cycle).\u003c/p>\n\u003cp>\u003cem>That said:\u003c/em> In the past 48 hours, two different interviews with two very different female musicians, conducted in two different mediums -- \u003ca href=\"http://www.npr.org/2015/10/06/446083413/chrissie-hynde-im-just-telling-my-story\" target=\"_blank\">one with Chrissie Hynde of the Pretenders, on NPR\u003c/a>, and another with \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html\" target=\"_blank\">Nicki Minaj, who graces the cover of this week's \u003cem>New York Times Magazine\u003c/em>\u003c/a> -- have been flying around \"my\" Internet with such ubiquity that it gave me pause.\u003c/p>\n\u003cp>In essence, both interviews include sections where their subjects get annoyed with a question from their interviewer, questions they don't feel they should have to answer, and decide to say as much.\u003c/p>\n\u003cp>In Hynde's case -- after sitting through \u003ca href=\"http://www.edrants.com/in-defense-of-chrissie-hynde-why-npr-needs-to-change-and-why-david-greene-is-a-sexist-fool/\" target=\"_blank\">a line of questioning from NPR's David Greene that's clumsy at best\u003c/a> -- she expresses annoyance at his wanting her to simply repeat anecdotes from her recently published memoir, \u003cem>Reckless.\u003c/em>\u003c/p>\n\u003cp>First, Greene mentions how she was influenced by the Rolling Stones, a non-question that prompts a justifiable \"Is that your question?\" from Hynde, whom Greene notes at the conversation's outset is a notoriously tough interview. (She's also a bonafide, old-school rock star.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I'm not gonna tell you that story because I already wrote it in the book,\" she then says, exasperated, when prompted to repeat the details of a controversial section in which Hynde recalls being assaulted by a group of bikers sometime in her early '20s.\u003c/p>\n\u003cp>She never refers to it as rape, and has \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/10/the-public-shaming-of-chrissie-hynde/409234/\" target=\"_blank\">said some things I vehemently disagree with about women needing to \"take responsibility\" for how they dress and behave in such situations\u003c/a> -- but, for our purposes here, that's beside the point. Greene is asking for the memoir's highlight reel, and in this case the highlights are some intensely personal revelations that Hynde doesn't really feel like reciting.\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html?_r=0\" target=\"_blank\">Minaj interview\u003c/a>, writer Vanessa Grigoriadis notes a number of instances in which the pop star refuses to answer questions.\u003c/p>\n\u003cp>\"I don’t even want to discuss that. That’s so old to me,\" says Minaj with an air of disgust when Grigoriadis asks how the singer was influenced by Lady Gaga's tendency toward costumes as performance art. She brushes off a question about her career's chronology in the early days, when she used to sell tapes out of her car, as \"dumb.\" But the (diamond-covered) gloves really come off when the journalist asks if Minaj might possibly \"thrive\" on drama, like the beef between her boyfriend, Meek Mill, and her label mate, Drake.\u003c/p>\n\u003cp>Every one of the angry words Minaj lobs at Grigoriadis in response -- \"rude,\" \"troublemaker,\" \"Do not speak to me like I’m stupid or beneath you in any way,\" and, lastly, \"I don’t care to speak to you anymore\" -- is arguably deserved, and the writer acknowledges as much, stating that she regretted the question as soon as it passed her lips. I actually really enjoyed this profile, and I think Grigoriadis tried to do right by Minaj. But the feeling the reader is left with, as Grigoriadis slinks away from the pop star's apartment, is one of Minaj being, yes, \"difficult.\"\u003c/p>\n\u003cp>So: Let's talk about this notion of celebrities being \"difficult.\" When a famous person gives an interview, it is usually because they have a new product -- a film, a book, an album -- to promote. And what we are measuring when we discuss how easy or tough of an interview they are, really, is their willingness to play ball: to answer the same questions over and over, to repeat sound bytes, to seem affable while they probably want to slit their throat. This is part of your job when you are a famous person and I don't exactly feel sympathy for most multi-millionaires when they have to sit through a few hackneyed conversations in order to make more millions.\u003c/p>\n\u003cp>And yet. How much of a person, exactly, are we owed in this format? \u003ca href=\"https://www.youtube.com/watch?v=ALBwaO-rAsE\" target=\"_blank\">Robert Downey Jr. famously stormed out of a press junket interview \u003c/a>earlier this year when the reporter veered off-course, asking questions about his past substance abuse; the actor was mostly applauded for it. \u003cspan style=\"font-weight: 400\">Lou Reed was aggressively obnoxious in interviews with such consistency that it became a part of his persona; besides, it felt earned. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how, exactly, did he earn it? \u003c/span>Where are the lines between \"justifiably annoyed\" and \"difficult\" and \"such a badass, you can do whatever you want\"? Do they move depending on what type of performer you are? Your genre? Your gender?\u003c/p>\n\u003cp>Beyoncé's chosen to dodge the question (and the print media) entirely as of late, and in return The \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/08/20/fashion/beyonce-is-seen-but-not-heard.html?_r=0\" target=\"_blank\">ran a story whose entire thesis was that Beyoncé hasn't been giving interviews\u003c/a> lately. Meanwhile, this week's issue of \u003cem>Rolling Stone \u003c/em>promises \u003ca href=\"http://www.rollingstone.com/music/features/keith-richards-on-getting-busted-zeppelin-and-stones-future-20151008\" target=\"_blank\">the most \"revealing\" interview Keith Richards has granted in decades\u003c/a>. That's presented as a gift -- there's no private-life debt, so to speak, that's owed.\u003c/p>\n\u003cp>Yes, there's an argument to be made that Hynde, in particular, was simply being asked to discuss material from the very thing she was on air to sell. But the response to both interviews, and the speed with which many are happy to simply cast both women as unnecessarily angry or contrary, raises questions for me about what we expect -- what we feel we \u003cem>deserve\u003c/em> -- from our famous women, and why.\u003c/p>\n\u003cp>\"The draw of an album made by a woman is not to consume what she’s created, but to traverse a pipeline directly to her being,\" wrote Sasha Geffen in \u003ca href=\"http://thenewinquiry.com/essays/radical-strain/\" target=\"_blank\">an insightful essay for The New Inquiry\u003c/a>, a piece I've revisited many times in the year since it was published. \"She didn’t make the product; she is the product.\"\u003c/p>\n\u003cp>Geffen was writing primarily about music critics' tendency to treat female talent as effortless while men are granted agency, but I think the sentiment crosses art forms. We can all agree that Robert Downey Jr. shouldn't have to discuss personal problems in every interview for the rest of his life. Should Nicki Minaj? Does this contract change when your public persona is purposefully larger than life? How about when you routinely use mediums you control, like Twitter, to share opinions you \u003cem>do\u003c/em> feel should be public --\u003ca href=\"http://www.thedailybeast.com/articles/2015/10/08/nicki-minaj-teaches-miley-cyrus-a-lesson-about-white-privilege.html\" target=\"_blank\"> like comments on racism in your industry?\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I'll leave you with this: A study released last month by researchers at Arizona State University and the University of Illinois that most likely surprised some men and exactly zero women showed that \u003ca href=\"http://www.psmag.com/politics-and-law/anger-reduces-womens-ability-to-influence-others\" target=\"_blank\">women who express anger lose respect from their peers\u003c/a>, while men actually gain it. \u003c/span>\u003c/p>\n\u003cp>I'd be interested to hear what Hynde and Minaj would have to say about those findings. Journalists interviewing female celebrities, there's a free question for ya! Hope the answers aren't too difficult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIPaPiArbLI\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XKSQmYUaIyE\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\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/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/ZIPaPiArbLI'\n title='//www.youtube.com/embed/ZIPaPiArbLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\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/XKSQmYUaIyE'\n title='//www.youtube.com/embed/XKSQmYUaIyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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