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"content": "\u003cp>One of the pitfalls of \u003cem>really\u003c/em> loving music is when your favorite band or artist makes you wait and wait for a new album. (I'm looking at you, Frank Ocean, Rihanna, Christina Aguilera, Adele.) So when a new album does come out, I make it my mission to hold myself back from playing it over and over until I'm sick to death of it in a month or two.\u003c/p>\n\u003cp>Beach House released a beautiful gem of an album, \u003cem>Depression Cherry\u003c/em>, in August and I've been savoring it in a slow, purposeful way. But apparently there was no need for all that moderation because the band just announced that they're dropping a whole new album in nine days!\u003c/p>\n\u003cp>https://twitter.com/BeaccchHoussse/status/651859947781758976\u003c/p>\n\u003cp>https://twitter.com/BeaccchHoussse/status/651860366998302721\u003c/p>\n\u003cp>https://twitter.com/BeaccchHoussse/status/651866659637084161\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/BeaccchHoussse/status/651867327340937217\u003c/p>\n\u003cp>They might not want to brand it a surprise and become a footnote in every future think piece about surprise albums and how the music industry has changed in recent years, but let's be real, this is a huge surprise and I love surprises.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_inline_mrxxpgl38j1qz4rgp.gif\">\u003cimg class=\"aligncenter size-full wp-image-18397\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_inline_mrxxpgl38j1qz4rgp.gif\" alt=\"i love surprises wiig\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.stereogum.com/1835960/do-beach-house-have-a-depression-cherry-companion-album-coming-soon/news/\" target=\"_blank\">\u003cem>Stereogum\u003c/em>\u003c/a> did some digging on Beach House's website and found a secret treasure trove of \u003ca href=\"http://imgur.com/a/ndaY6\" target=\"_blank\">photos\u003c/a> and lyrics for the new songs!\u003c/p>\n\u003cp>1. “\u003ca href=\"http://i.imgur.com/X2ouYMm.jpg\">Marjorette”\u003c/a>\u003cbr>\n2. “\u003ca href=\"http://i.imgur.com/cdn4PO9.jpg\">She’s So Lovely”\u003c/a>\u003cbr>\n3. “\u003ca href=\"http://i.imgur.com/I3SJoCE.jpg\">All Your Yeahs”\u003c/a>\u003cbr>\n4. “\u003ca href=\"http://i.imgur.com/iFwOcxZ.jpg\">One Thing”\u003c/a>\u003cbr>\n5. “\u003ca href=\"http://i.imgur.com/9fue3Gd.jpg\">Common Girl”\u003c/a>\u003cbr>\n6. “\u003ca href=\"http://i.imgur.com/LL0C7zh.jpg\">The Traveller”\u003c/a>\u003cbr>\n7. “\u003ca href=\"http://i.imgur.com/f6TwxfP.jpg\">Elegy To The Void”\u003c/a>\u003cbr>\n8. “\u003ca href=\"http://i.imgur.com/86yorK6.jpg\">Rough Song”\u003c/a>\u003cbr>\n9. “\u003ca class=\"\" href=\"http://i.imgur.com/uVyONZk.jpg\">Somewhere Tonight”\u003c/a>\u003c/p>\n\u003cp>Read 'em and weep!\u003c/p>\n\u003cp>All right, time to listen to \u003cem>Depression Cherry\u003c/em> on a loop until \u003cem>Thank Your Lucky Stars\u003c/em> is released next Friday. What a time to be alive!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A35vTE3hx3AAXtM6okpJIIt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the pitfalls of \u003cem>really\u003c/em> loving music is when your favorite band or artist makes you wait and wait for a new album. (I'm looking at you, Frank Ocean, Rihanna, Christina Aguilera, Adele.) So when a new album does come out, I make it my mission to hold myself back from playing it over and over until I'm sick to death of it in a month or two.\u003c/p>\n\u003cp>Beach House released a beautiful gem of an album, \u003cem>Depression Cherry\u003c/em>, in August and I've been savoring it in a slow, purposeful way. But apparently there was no need for all that moderation because the band just announced that they're dropping a whole new album in nine days!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>They might not want to brand it a surprise and become a footnote in every future think piece about surprise albums and how the music industry has changed in recent years, but let's be real, this is a huge surprise and I love surprises.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_inline_mrxxpgl38j1qz4rgp.gif\">\u003cimg class=\"aligncenter size-full wp-image-18397\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_inline_mrxxpgl38j1qz4rgp.gif\" alt=\"i love surprises wiig\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.stereogum.com/1835960/do-beach-house-have-a-depression-cherry-companion-album-coming-soon/news/\" target=\"_blank\">\u003cem>Stereogum\u003c/em>\u003c/a> did some digging on Beach House's website and found a secret treasure trove of \u003ca href=\"http://imgur.com/a/ndaY6\" target=\"_blank\">photos\u003c/a> and lyrics for the new songs!\u003c/p>\n\u003cp>1. “\u003ca href=\"http://i.imgur.com/X2ouYMm.jpg\">Marjorette”\u003c/a>\u003cbr>\n2. “\u003ca href=\"http://i.imgur.com/cdn4PO9.jpg\">She’s So Lovely”\u003c/a>\u003cbr>\n3. “\u003ca href=\"http://i.imgur.com/I3SJoCE.jpg\">All Your Yeahs”\u003c/a>\u003cbr>\n4. “\u003ca href=\"http://i.imgur.com/iFwOcxZ.jpg\">One Thing”\u003c/a>\u003cbr>\n5. “\u003ca href=\"http://i.imgur.com/9fue3Gd.jpg\">Common Girl”\u003c/a>\u003cbr>\n6. “\u003ca href=\"http://i.imgur.com/LL0C7zh.jpg\">The Traveller”\u003c/a>\u003cbr>\n7. “\u003ca href=\"http://i.imgur.com/f6TwxfP.jpg\">Elegy To The Void”\u003c/a>\u003cbr>\n8. “\u003ca href=\"http://i.imgur.com/86yorK6.jpg\">Rough Song”\u003c/a>\u003cbr>\n9. “\u003ca class=\"\" href=\"http://i.imgur.com/uVyONZk.jpg\">Somewhere Tonight”\u003c/a>\u003c/p>\n\u003cp>Read 'em and weep!\u003c/p>\n\u003cp>All right, time to listen to \u003cem>Depression Cherry\u003c/em> on a loop until \u003cem>Thank Your Lucky Stars\u003c/em> is released next Friday. What a time to be alive!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A35vTE3hx3AAXtM6okpJIIt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Punk Icon Patti Smith Releases Second Memoir, 'M Train'",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More from our first live show! This time, we're talking to voguing maestro Jocquese Whitfield and queer punk rocker Brontez Purnell.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/10/TheCoolerLIVEBonusEpisode.mp3\" title=\"The Cooler LIVE! with Brontez Purnell & Jocquese Whitfield\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/10/01/episode-3-the-cooler-live-with-w-kamau-bell/\" target=\"_blank\">Last week, you heard\u003c/a> our high school dance horror stories and our conversation with the hilarious W. Kamau Bell. But that's not all that happened that night.\u003c/p>\n\u003cp>We also talked to the Bay Area's leader in voguing, Jocquese Whitfield, and Brontez Purnell, former member of Gravy Train!!!! and lead singer of The Younger Lovers.\u003c/p>\n\u003cp>Because audio can only go so far sometimes, here's a video of Jocquese's epic performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fJJzasqv3BA\u003c/p>\n\u003cp>And here's what the boys from The Younger Lovers look like in motion:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xzo01zo1JF0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Come back on Thursday for an all new episode of \u003cem>The Cooler\u003c/em>! Until then, \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cp>Aah, Hardly Strictly Bluegrass. \u003ca href=\"http://www.sfbg.com/2014/10/01/strictly-speaking\" target=\"_blank\" rel=\"noopener\">As I’ve written previously\u003c/a>, the crown jewel of free San Francisco festivals is, hands down, the best music festival in the country, and I will defend that statement with all I’ve got.\u003c/p>\n\u003cp>\u003cb>Update for 2023: Watch livestreamed performances from the main stage below. \u003c/b>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/TPSFFJ_85Z0?si=307LSY944UlsGcMx\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The lack of corporate sponsorship changes not only the feeling in the crowd but something in the air itself: At a time when inhabitants of 1960s San Francisco would be hard-pressed to recognize the city should they suddenly land on Valencia Street as it currently exists — when the vitriol between our newer, tech-employed denizens and natives (however you want to define that) seems to reach a new maxed-out dog-whistle pitch every day — Hardly Strictly Bluegrass is the music festival equivalent of a public swimming pool: There’s no caste system, everyone can have fun doing cannonballs, and everyone looks stupid when they get water up their nose.\u003c/p>\n\u003cp>Okay, so maybe that analogy needs a little work, but you get my point: It’s a unifying thing, and the city needs that right now, maybe more than ever. Consider this a PSA to say that if you can’t make it to Golden Gate Park for whatever reason this weekend,\u003ca href=\"http://www.hardlystrictlybluegrass.com/2015/webcast/\" target=\"_blank\" rel=\"noopener\"> you can join in that feeling by streaming various sets online right here\u003c/a>. Personally we’re stoked on this tribute to Big Star’s \u003cem>Third\u003c/em> later on this afternoon. \u003ca href=\"http://ww2.kqed.org/arts/2015/09/02/five-of-the-hardliest-strictliest-acts-at-this-years-hardly-strictly-bluegrass-festival/\" target=\"_blank\" rel=\"noopener\">Check out Gabe Meline on KQED Arts for other recommendations\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you are planning to make it to the fest in all its physical glory: Bring sunscreen. Bring water. Bring layers! Alright, done being your Jewish mother. See you in the park.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aah, Hardly Strictly Bluegrass. \u003ca href=\"http://www.sfbg.com/2014/10/01/strictly-speaking\" target=\"_blank\" rel=\"noopener\">As I’ve written previously\u003c/a>, the crown jewel of free San Francisco festivals is, hands down, the best music festival in the country, and I will defend that statement with all I’ve got.\u003c/p>\n\u003cp>\u003cb>Update for 2023: Watch livestreamed performances from the main stage below. \u003c/b>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/TPSFFJ_85Z0?si=307LSY944UlsGcMx\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The lack of corporate sponsorship changes not only the feeling in the crowd but something in the air itself: At a time when inhabitants of 1960s San Francisco would be hard-pressed to recognize the city should they suddenly land on Valencia Street as it currently exists — when the vitriol between our newer, tech-employed denizens and natives (however you want to define that) seems to reach a new maxed-out dog-whistle pitch every day — Hardly Strictly Bluegrass is the music festival equivalent of a public swimming pool: There’s no caste system, everyone can have fun doing cannonballs, and everyone looks stupid when they get water up their nose.\u003c/p>\n\u003cp>Okay, so maybe that analogy needs a little work, but you get my point: It’s a unifying thing, and the city needs that right now, maybe more than ever. Consider this a PSA to say that if you can’t make it to Golden Gate Park for whatever reason this weekend,\u003ca href=\"http://www.hardlystrictlybluegrass.com/2015/webcast/\" target=\"_blank\" rel=\"noopener\"> you can join in that feeling by streaming various sets online right here\u003c/a>. Personally we’re stoked on this tribute to Big Star’s \u003cem>Third\u003c/em> later on this afternoon. \u003ca href=\"http://ww2.kqed.org/arts/2015/09/02/five-of-the-hardliest-strictliest-acts-at-this-years-hardly-strictly-bluegrass-festival/\" target=\"_blank\" rel=\"noopener\">Check out Gabe Meline on KQED Arts for other recommendations\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Gates of Gold' by Los Lobos Reveals New Mysteries",
"title": "'Gates of Gold' by Los Lobos Reveals New Mysteries",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The true measure of any \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\">Los Lobos\u003c/a> album is not in the things we expect to hear, although that’s all there on the new “Gates of Gold,” the band’s 17th overall studio release and first in five years.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/225595251\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Yes, there’s a nice little Norteño-style waltz and a snappy \u003ca href=\"http://www.npr.org/sections/altlatino/2013/09/30/227834004/cumbia-the-musical-backbone-of-latin-america\" target=\"_blank\">cumbia\u003c/a>, both featuring David Hidalgo’s accordion.\u003c/p>\n\u003cp>Yes, Cesar Rosas growls through a gritty grinder, “Mistreated Boogie Blues.”\u003c/p>\n\u003cp>And yes, in “Too Small Heart” there’s a scorching turn at a classic rock style, in this case an out-and-out homage to Jimi Hendrix — like Rosas, a lefty guitarist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real gauge, always, is in the things we don’t expect, the things that take the band, and us, to new places.\u003c/p>\n\u003cp>The set’s second song, “When We Were Free,” is a dreamy meditation, slinky and seductive, a sort of jazzy tone poem. Here, gloriously, are the collective talents of Hidalgo, Rosas, Louie Perez, Conrad Lozano and Steve Berlin.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10695947\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg\" alt=\"RS16782_Lobos Gates of Gold Working Cvr-qut\" width=\"382\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg 382w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-75x75.jpg 75w\" sizes=\"(max-width: 382px) 100vw, 382px\">\u003c/p>\n\u003cp>Four of those five have played together for more than 40 years, since they were teens in East L.A. getting wedding and party gigs. And Berlin joined more than 30 years ago, in the time when the band had taken hold in the post-punk Hollywood roots music scene.\u003c/p>\n\u003cp>Well, ever since 1992’s landmark “\u003ca href=\"http://articles.latimes.com/2012/sep/15/entertainment/la-et-ms-los-lobos-20120916\" target=\"_blank\">Kiko\u003c/a>” — a magic-realism reinvention of the band — it’s seemed that \u003cem>anything\u003c/em> was possible from Los Lobos. And yet this song hits with surprise and delight.\u003c/p>\n\u003cp>The music here is only possible with that kind of community, family feel. (And to accent that and move it forward, the drummer on the album is one David Hidalgo Jr., an already established player with time in Social Distortion, Suicidal Tendencies and other bands, as well as occasional stints with his dad’s band on the road in recent years.)\u003c/p>\n\u003cp>Now, we could spend a lot of time talking about that history. But esteemed journalist Chris Morris has taken care of that with his new, detailed and definitive book, “\u003ca href=\"https://www.kirkusreviews.com/book-reviews/chris-morris/los-lobos/\" target=\"_blank\">Los Lobos: Dream in Blue\u003c/a>.” His central point is that the Los Lobos story isn’t only about East L.A., or the Mexican-American experience. It’s an \u003cem>American\u003c/em> story.\u003c/p>\n\u003cp>As expansive as this band’s sound and stance can be, “Gates of Gold” is marked by an inward, ruminative tone. That’s established from the start with the opening song, the sorrowful, loss-filled “Made to Break Your Heart,” with guest \u003ca href=\"http://www.sydstraw.net/bio.html\" target=\"_blank\">Syd Straw\u003c/a> joining in on vocals. But while the words are sad, the sturdy, engaging Americana-ism of the music keeps the door open to hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That hope is explicit in the album’s title song. With an old-timey folk-gospel feel, Hidalgo sings Perez’s lyrics about the gates of gold revealing new horizons, where there is “mystery untold.” Whether taken as about matters spiritual or earthly, it’s a mystery that holds untold promise. And that’s what we expect from Los Lobos.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The true measure of any \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\">Los Lobos\u003c/a> album is not in the things we expect to hear, although that’s all there on the new “Gates of Gold,” the band’s 17th overall studio release and first in five years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/225595251&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/225595251'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yes, there’s a nice little Norteño-style waltz and a snappy \u003ca href=\"http://www.npr.org/sections/altlatino/2013/09/30/227834004/cumbia-the-musical-backbone-of-latin-america\" target=\"_blank\">cumbia\u003c/a>, both featuring David Hidalgo’s accordion.\u003c/p>\n\u003cp>Yes, Cesar Rosas growls through a gritty grinder, “Mistreated Boogie Blues.”\u003c/p>\n\u003cp>And yes, in “Too Small Heart” there’s a scorching turn at a classic rock style, in this case an out-and-out homage to Jimi Hendrix — like Rosas, a lefty guitarist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the real gauge, always, is in the things we don’t expect, the things that take the band, and us, to new places.\u003c/p>\n\u003cp>The set’s second song, “When We Were Free,” is a dreamy meditation, slinky and seductive, a sort of jazzy tone poem. Here, gloriously, are the collective talents of Hidalgo, Rosas, Louie Perez, Conrad Lozano and Steve Berlin.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10695947\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg\" alt=\"RS16782_Lobos Gates of Gold Working Cvr-qut\" width=\"382\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut.jpg 382w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16782_Lobos-Gates-of-Gold-Working-Cvr-qut-75x75.jpg 75w\" sizes=\"(max-width: 382px) 100vw, 382px\">\u003c/p>\n\u003cp>Four of those five have played together for more than 40 years, since they were teens in East L.A. getting wedding and party gigs. And Berlin joined more than 30 years ago, in the time when the band had taken hold in the post-punk Hollywood roots music scene.\u003c/p>\n\u003cp>Well, ever since 1992’s landmark “\u003ca href=\"http://articles.latimes.com/2012/sep/15/entertainment/la-et-ms-los-lobos-20120916\" target=\"_blank\">Kiko\u003c/a>” — a magic-realism reinvention of the band — it’s seemed that \u003cem>anything\u003c/em> was possible from Los Lobos. And yet this song hits with surprise and delight.\u003c/p>\n\u003cp>The music here is only possible with that kind of community, family feel. (And to accent that and move it forward, the drummer on the album is one David Hidalgo Jr., an already established player with time in Social Distortion, Suicidal Tendencies and other bands, as well as occasional stints with his dad’s band on the road in recent years.)\u003c/p>\n\u003cp>Now, we could spend a lot of time talking about that history. But esteemed journalist Chris Morris has taken care of that with his new, detailed and definitive book, “\u003ca href=\"https://www.kirkusreviews.com/book-reviews/chris-morris/los-lobos/\" target=\"_blank\">Los Lobos: Dream in Blue\u003c/a>.” His central point is that the Los Lobos story isn’t only about East L.A., or the Mexican-American experience. It’s an \u003cem>American\u003c/em> story.\u003c/p>\n\u003cp>As expansive as this band’s sound and stance can be, “Gates of Gold” is marked by an inward, ruminative tone. That’s established from the start with the opening song, the sorrowful, loss-filled “Made to Break Your Heart,” with guest \u003ca href=\"http://www.sydstraw.net/bio.html\" target=\"_blank\">Syd Straw\u003c/a> joining in on vocals. But while the words are sad, the sturdy, engaging Americana-ism of the music keeps the door open to hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That hope is explicit in the album’s title song. With an old-timey folk-gospel feel, Hidalgo sings Perez’s lyrics about the gates of gold revealing new horizons, where there is “mystery untold.” Whether taken as about matters spiritual or earthly, it’s a mystery that holds untold promise. And that’s what we expect from Los Lobos.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Spotify for Libraries': Public Libraries Edge Toward Music Streaming Services",
"headTitle": "‘Spotify for Libraries’: Public Libraries Edge Toward Music Streaming Services | KQED",
"content": "\u003cp>As \u003ca href=\"http://www.nielsen.com/content/dam/corporate/us/en/public%20factsheets/Soundscan/nielsen-2014-year-end-music-report-us.pdf\">more people stream and fewer buy\u003c/a>, Netflix-like subscriptions look like the\u003ca href=\"http://www.slate.com/articles/technology/technology/2015/06/apple_music_launches_you_might_never_buy_a_song_again.html\"> reasonable bet\u003c/a> for tomorrow’s music marketplace — a way for suppliers to mimic Spotify without going the freemium route. Apple Music, set to \u003ca href=\"http://www.wired.com/2015/06/how-to-turn-off-auto-renewal-for-apple-music/\">begin charging users\u003c/a> September 30, is often lauded as \u003ca href=\"http://finance.yahoo.com/news/music-industry-watching-closely-as-apple-music-free-trials-expire-182736963.html\">the brave initiator\u003c/a> of this potential future, but well outside Cupertino, a smaller company has spent the past five years pioneering a similar model in one of the last places you’d expect: The public library.\u003c/p>\n\u003cp>The service is called Freegal, and in August the Watsonville Public Library \u003ca href=\"http://www.santacruzsentinel.com/general-news/20150817/coast-lines-aug-18-2015-library-offers-digital-music-from-its-website\">opened an account\u003c/a>. As long as the branch pays an annual fee, patrons can stream \u003ca href=\"http://libraryideas.freegalmusic.com/questions\">thousands of artists\u003c/a> from nearly 30,000 labels, many under Sony Music’s large umbrella. Cardholders can log in from anywhere — they don’t need to be inside the library — and they’re allowed up to three hours of streaming per day and three free downloads per week.\u003c/p>\n\u003cp>“We wanted to offer patrons a way to access music online, so that they could freely and legally listen,” says Heather Geddes, Principal Librarian of Public Services in Watsonville.\u003c/p>\n\u003cp>She’s not alone. In the Bay Area, both the Santa Clara County Library District and the \u003ca href=\"http://www.smcl.org/en/content/freegal-music\">San Mateo County Library\u003c/a> offer the service. They’re joined by 5,000 others in 20 countries, according to Brian Downing, CEO of Library Ideas LLC (which owns Freegal).\u003c/p>\n\u003cp>The company’s reach makes sense: Libraries have long offered physical CDs, cassettes and LPs — why not switch to a listening format that, \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\">for better or worse\u003c/a>, matches the consumption patterns of those kids and their darn iPhones? But not every library supports streaming services. Because the institution’s historic mission has been about providing free, open access to information, the costs and exclusive label contracts that come with companies like Freegal have some librarians opting out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sarah Houghton is one of them. In 2011 she published an entry to her popular Librarian in Black blog titled “Just say no to Freegal.” Now the Director of San Rafael Public Library, Houghton says she still stands by that post.\u003c/p>\n\u003cp>“Since [streaming has] become more prevalent on the consumer market, libraries have wanted to provide those services to our users,” she says. “Unfortunately, very few digital providers will actually license their content to libraries, so the selection is pretty slim.”\u003c/p>\n\u003cp>Her issues with Freegal are twofold. First, the cost — Houghton says the last quote her library received was about $20,000 annually, which would have been half of its digital operating budget. According to Downing, a library’s annual fee depends on several factors, including population served and number of cardholders, and can range from several hundred to six figures a year. Watsonville’s fee is significantly less than the sum Houghton quotes, running at about $4,000 a year, according to Library Director Carol Heitzig.\u003c/p>\n\u003cp>But Houghton also takes issue with the company’s business model which, she says, doesn’t mesh with the way libraries have traditionally operated.\u003c/p>\n\u003cp>“The way public libraries have worked, and been able to be a very good return on investment, is that we buy something once and then multiple people get to use it — whether that’s a book that we loan out ten times or a computer that 20 different people can use throughout the day,” she says. “With services like this, what the library is doing is paying for a piece of content for our patrons to use permanently, so it’s not the same kind of multiplying effect.”\u003c/p>\n\u003cp>Geddes, however, argues that while issues of lending and ownership aren’t as clear-cut with digital products, services like Freegal are still an important part of the library’s evolving mission. Aside from music streaming, she says, Watsonville offers online classes — publicly subsidized sessions that patrons don’t exactly check out and then give back.\u003c/p>\n\u003cp>“When you transition to online, from eBooks to music streaming, you just see a variety of products that are a little bit different,” she says. “[Libraries] are feeling them out and trying to offer the services that meet the needs of our communities.”\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Freegal isn’t the only company of its kind. Hoopla, offered by San Francisco Public Library, San Jose Public Library and several others throughout the Bay Area, serves 816 libraries across North America. Its pricing structure differs from Freegal’s — libraries only pay for content that patrons borrow, with fees ranging $.99 to $2 a pop for albums, eBooks and DVDs. According to Passion Hemphill, PR representative for the company, many libraries cap the number of borrows each patron is entitled to. \u003c/span>\u003c/p>\n\u003cp>The services are similar in one respect: Both pay artists — though neither Hemphill nor Downing would specify a percentage. According to Hemphill, artists receive mechanical, PRO and label royalties through Hoopla.\u003c/p>\n\u003cp>“We make agreements with labels, and those agreements are confidential,” Downing says.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">A scroll through Hoopla’s \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"https://www.hoopladigital.com/home\">website\u003c/a>\u003cspan style=\"line-height: 1.5\"> reveals an extensive catalog, including the Weeknd, Lana Del Rey and Rihanna, with content partners \u003ca href=\"http://library.hoopladigital.com/whats-new/2014/8/multiple-vendors-offering-content-on-hoopla\">ranging\u003c/a> from Universal Music and Warner Music to Chicago-based indie label Alligator Records. Freegal, however, doesn’t just have the wider circulation — it also has Sony. Downing wouldn’t confirm that Freegal’s contract with the publishing giant is exclusive, but he did write in an email: “[Y]ou won’t find Sony Music in any other service.” A search for “Beyoncé” in Hoopla’s database, for example, \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"https://www.hoopladigital.com/search?q=beyonce&offset=0\">brings up\u003c/a>\u003cspan style=\"line-height: 1.5\"> an eBook biography and a smooth jazz tribute to the pop star.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10975646\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SoCoInline-400x300.jpg\" alt=\"Physical CD racks at the Sonoma County Library, where Collections Manager David Dodd says he's waiting for streaming services for public libraries to improve before adopting one for patrons' use.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10975646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SoCoInline-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SoCoInline.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Physical CD racks at the Sonoma County Library, where Collections Manager David Dodd says he’s waiting for streaming services for public libraries to improve before adopting one for patrons’ use. \u003ccite>(Rachel Dovey/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while Freegal \u003ca href=\"http://www.freegalmusic.com/search?q=beyonce&type=all\">offers\u003c/a> everything from “Crazy in Love” to the self-titled \u003cem>Beyoncé\u003c/em>, its catalog lacks many artists signed to Universal subsidiaries. \u003cem>Beauty Behind the Madness\u003c/em>, the Weeknd’s newest release, is one of the first featured albums on Hoopla’s site. But run a search for “the Weeknd” through Freegal, and you’ll come up \u003ca href=\"http://www.freegalmusic.com/search?type=album&q=the+weeknd&fq=facets\">empty-handed\u003c/a> save for some Juicy J and Travis Scott features.\u003c/p>\n\u003cp>And that — the fact that artists are siphoned into different services according to their label — frustrates David Dodd, Collections Manager for the Sonoma County Library.\u003c/p>\n\u003cp>“We no longer have access to a full marketplace of materials,” he says.\u003c/p>\n\u003cp>The Sonoma County Library doesn’t yet subscribe to a streaming service, though Dodd says it’s considering various vendors. But in some ways, he, too, finds the available models incongruous with the library’s historic goal of free, wide-ranging public access. One reason is that with limited funds, few libraries can purchase all the services they would need to make up a well-rounded digital catalog.\u003c/p>\n\u003cp>“It feels like publishers are running scared and labels are running scared,” he says. “Of course creatives and publishers have a right to make money off their works, but the public library has long been a model for how to make sure that it’s not just the wealthy who can afford that music and art.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Everything is available on the web,” he adds. “But not everything is freely available on the web.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"http://www.nielsen.com/content/dam/corporate/us/en/public%20factsheets/Soundscan/nielsen-2014-year-end-music-report-us.pdf\">more people stream and fewer buy\u003c/a>, Netflix-like subscriptions look like the\u003ca href=\"http://www.slate.com/articles/technology/technology/2015/06/apple_music_launches_you_might_never_buy_a_song_again.html\"> reasonable bet\u003c/a> for tomorrow’s music marketplace — a way for suppliers to mimic Spotify without going the freemium route. Apple Music, set to \u003ca href=\"http://www.wired.com/2015/06/how-to-turn-off-auto-renewal-for-apple-music/\">begin charging users\u003c/a> September 30, is often lauded as \u003ca href=\"http://finance.yahoo.com/news/music-industry-watching-closely-as-apple-music-free-trials-expire-182736963.html\">the brave initiator\u003c/a> of this potential future, but well outside Cupertino, a smaller company has spent the past five years pioneering a similar model in one of the last places you’d expect: The public library.\u003c/p>\n\u003cp>The service is called Freegal, and in August the Watsonville Public Library \u003ca href=\"http://www.santacruzsentinel.com/general-news/20150817/coast-lines-aug-18-2015-library-offers-digital-music-from-its-website\">opened an account\u003c/a>. As long as the branch pays an annual fee, patrons can stream \u003ca href=\"http://libraryideas.freegalmusic.com/questions\">thousands of artists\u003c/a> from nearly 30,000 labels, many under Sony Music’s large umbrella. Cardholders can log in from anywhere — they don’t need to be inside the library — and they’re allowed up to three hours of streaming per day and three free downloads per week.\u003c/p>\n\u003cp>“We wanted to offer patrons a way to access music online, so that they could freely and legally listen,” says Heather Geddes, Principal Librarian of Public Services in Watsonville.\u003c/p>\n\u003cp>She’s not alone. In the Bay Area, both the Santa Clara County Library District and the \u003ca href=\"http://www.smcl.org/en/content/freegal-music\">San Mateo County Library\u003c/a> offer the service. They’re joined by 5,000 others in 20 countries, according to Brian Downing, CEO of Library Ideas LLC (which owns Freegal).\u003c/p>\n\u003cp>The company’s reach makes sense: Libraries have long offered physical CDs, cassettes and LPs — why not switch to a listening format that, \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\">for better or worse\u003c/a>, matches the consumption patterns of those kids and their darn iPhones? But not every library supports streaming services. Because the institution’s historic mission has been about providing free, open access to information, the costs and exclusive label contracts that come with companies like Freegal have some librarians opting out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sarah Houghton is one of them. In 2011 she published an entry to her popular Librarian in Black blog titled “Just say no to Freegal.” Now the Director of San Rafael Public Library, Houghton says she still stands by that post.\u003c/p>\n\u003cp>“Since [streaming has] become more prevalent on the consumer market, libraries have wanted to provide those services to our users,” she says. “Unfortunately, very few digital providers will actually license their content to libraries, so the selection is pretty slim.”\u003c/p>\n\u003cp>Her issues with Freegal are twofold. First, the cost — Houghton says the last quote her library received was about $20,000 annually, which would have been half of its digital operating budget. According to Downing, a library’s annual fee depends on several factors, including population served and number of cardholders, and can range from several hundred to six figures a year. Watsonville’s fee is significantly less than the sum Houghton quotes, running at about $4,000 a year, according to Library Director Carol Heitzig.\u003c/p>\n\u003cp>But Houghton also takes issue with the company’s business model which, she says, doesn’t mesh with the way libraries have traditionally operated.\u003c/p>\n\u003cp>“The way public libraries have worked, and been able to be a very good return on investment, is that we buy something once and then multiple people get to use it — whether that’s a book that we loan out ten times or a computer that 20 different people can use throughout the day,” she says. “With services like this, what the library is doing is paying for a piece of content for our patrons to use permanently, so it’s not the same kind of multiplying effect.”\u003c/p>\n\u003cp>Geddes, however, argues that while issues of lending and ownership aren’t as clear-cut with digital products, services like Freegal are still an important part of the library’s evolving mission. Aside from music streaming, she says, Watsonville offers online classes — publicly subsidized sessions that patrons don’t exactly check out and then give back.\u003c/p>\n\u003cp>“When you transition to online, from eBooks to music streaming, you just see a variety of products that are a little bit different,” she says. “[Libraries] are feeling them out and trying to offer the services that meet the needs of our communities.”\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Freegal isn’t the only company of its kind. Hoopla, offered by San Francisco Public Library, San Jose Public Library and several others throughout the Bay Area, serves 816 libraries across North America. Its pricing structure differs from Freegal’s — libraries only pay for content that patrons borrow, with fees ranging $.99 to $2 a pop for albums, eBooks and DVDs. According to Passion Hemphill, PR representative for the company, many libraries cap the number of borrows each patron is entitled to. \u003c/span>\u003c/p>\n\u003cp>The services are similar in one respect: Both pay artists — though neither Hemphill nor Downing would specify a percentage. According to Hemphill, artists receive mechanical, PRO and label royalties through Hoopla.\u003c/p>\n\u003cp>“We make agreements with labels, and those agreements are confidential,” Downing says.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">A scroll through Hoopla’s \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"https://www.hoopladigital.com/home\">website\u003c/a>\u003cspan style=\"line-height: 1.5\"> reveals an extensive catalog, including the Weeknd, Lana Del Rey and Rihanna, with content partners \u003ca href=\"http://library.hoopladigital.com/whats-new/2014/8/multiple-vendors-offering-content-on-hoopla\">ranging\u003c/a> from Universal Music and Warner Music to Chicago-based indie label Alligator Records. Freegal, however, doesn’t just have the wider circulation — it also has Sony. Downing wouldn’t confirm that Freegal’s contract with the publishing giant is exclusive, but he did write in an email: “[Y]ou won’t find Sony Music in any other service.” A search for “Beyoncé” in Hoopla’s database, for example, \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"https://www.hoopladigital.com/search?q=beyonce&offset=0\">brings up\u003c/a>\u003cspan style=\"line-height: 1.5\"> an eBook biography and a smooth jazz tribute to the pop star.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10975646\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SoCoInline-400x300.jpg\" alt=\"Physical CD racks at the Sonoma County Library, where Collections Manager David Dodd says he's waiting for streaming services for public libraries to improve before adopting one for patrons' use.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10975646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SoCoInline-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SoCoInline.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Physical CD racks at the Sonoma County Library, where Collections Manager David Dodd says he’s waiting for streaming services for public libraries to improve before adopting one for patrons’ use. \u003ccite>(Rachel Dovey/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while Freegal \u003ca href=\"http://www.freegalmusic.com/search?q=beyonce&type=all\">offers\u003c/a> everything from “Crazy in Love” to the self-titled \u003cem>Beyoncé\u003c/em>, its catalog lacks many artists signed to Universal subsidiaries. \u003cem>Beauty Behind the Madness\u003c/em>, the Weeknd’s newest release, is one of the first featured albums on Hoopla’s site. But run a search for “the Weeknd” through Freegal, and you’ll come up \u003ca href=\"http://www.freegalmusic.com/search?type=album&q=the+weeknd&fq=facets\">empty-handed\u003c/a> save for some Juicy J and Travis Scott features.\u003c/p>\n\u003cp>And that — the fact that artists are siphoned into different services according to their label — frustrates David Dodd, Collections Manager for the Sonoma County Library.\u003c/p>\n\u003cp>“We no longer have access to a full marketplace of materials,” he says.\u003c/p>\n\u003cp>The Sonoma County Library doesn’t yet subscribe to a streaming service, though Dodd says it’s considering various vendors. But in some ways, he, too, finds the available models incongruous with the library’s historic goal of free, wide-ranging public access. One reason is that with limited funds, few libraries can purchase all the services they would need to make up a well-rounded digital catalog.\u003c/p>\n\u003cp>“It feels like publishers are running scared and labels are running scared,” he says. “Of course creatives and publishers have a right to make money off their works, but the public library has long been a model for how to make sure that it’s not just the wealthy who can afford that music and art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything is available on the web,” he adds. “But not everything is freely available on the web.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pope Francis, a.k.a. “Cool Pope,” has been rocking Washington D.C. this week — and in two months, he might actually rock the Billboard charts.\u003c/p>\n\u003cfigure id=\"attachment_10978416\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/PopeCover1-400x400.jpg\" alt=\"'Wake Up!,' out Nov. 27, is fully sanctioned by the Vatican.\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-10978416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1.jpg 920w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Wake Up!,’ out Nov. 27, is fully sanctioned by the Vatican. \u003ccite>(Believe Digital)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003ca href=\"http://www.rollingstone.com/music/news/pope-francis-to-release-pop-rock-album-wake-up-20150925\" target=\"_blank\" rel=\"noopener\">reported by \u003cem>Rolling Stone\u003c/em>\u003c/a>, the Pope is planning the release of a “prog-rock-infused album” for Nov. 27.\u003c/p>\n\u003cp>Titled \u003cem>Wake Up!\u003c/em>, and approved by the Vatican, the album blends the Pope’s speeches with music by various musicians, including Tony Pagliaca, who founded prog-rock band Le Orme and worked with Van Der Graaf Generator.\u003c/p>\n\u003cp>Hear the Pope’s first single, “Wake Up! Go! Go! Forward!” below:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/225225714?secret_token=s-DONtr” params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>Wake Up!\u003c/em> Track List:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1. “Annuntio Vobis Gadium Mangum”\u003cbr>\n2. “Salve Regina”\u003cbr>\n3. “Laudato Sie…”\u003cbr>\n4. “Poe Que’ Sufren Los Ninos”\u003cbr>\n5. “Non Lasciatevi Rubare La Speranza!”\u003cbr>\n6. “La Iglesia No Puede Ser Una Ong!”\u003cbr>\n7. “Wake Up! Go! Go! Forward!”\u003cbr>\n8. “La Fa Es Entera, No Se Licua!”\u003cbr>\n9. “Pace! Fratelli!”\u003cbr>\n10. “Per La Famiglia”\u003cbr>\n11. “Fazei O Que Ele Vos Disser”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pope Francis, a.k.a. “Cool Pope,” has been rocking Washington D.C. this week — and in two months, he might actually rock the Billboard charts.\u003c/p>\n\u003cfigure id=\"attachment_10978416\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/PopeCover1-400x400.jpg\" alt=\"'Wake Up!,' out Nov. 27, is fully sanctioned by the Vatican.\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-10978416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/PopeCover1.jpg 920w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Wake Up!,’ out Nov. 27, is fully sanctioned by the Vatican. \u003ccite>(Believe Digital)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003ca href=\"http://www.rollingstone.com/music/news/pope-francis-to-release-pop-rock-album-wake-up-20150925\" target=\"_blank\" rel=\"noopener\">reported by \u003cem>Rolling Stone\u003c/em>\u003c/a>, the Pope is planning the release of a “prog-rock-infused album” for Nov. 27.\u003c/p>\n\u003cp>Titled \u003cem>Wake Up!\u003c/em>, and approved by the Vatican, the album blends the Pope’s speeches with music by various musicians, including Tony Pagliaca, who founded prog-rock band Le Orme and worked with Van Der Graaf Generator.\u003c/p>\n\u003cp>Hear the Pope’s first single, “Wake Up! Go! Go! Forward!” below:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/225225714?secret_token=s-DONtr”&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/225225714?secret_token=s-DONtr”'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Wake Up!\u003c/em> Track List:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Michael Tilson Thomas, music director of the San Francisco Symphony, works with precocious young musicians, they generally show up with an entourage of parents, teachers, coaches and publicists. But not Yuja Wang. “What was so different about her, she simply appeared,” the conductor says of the first time he met and started working with the world renowned pianist, who was then just 17. “She said, ‘Hi. I’m here! What do we do?’”\u003c/p>\n\u003cp>The resulting years have led to a fruitful artistic collaboration between Tilson Thomas and Wang. The conductor, who’s long been a mentor as well as close friend of Wang’s, sees his role as a supportive one. “It’s my responsibility to make the soloist comfortable because that will create a situation in which they can make the most brilliant and delightful contribution for the listeners,” Tilson Thomas says.\u003c/p>\n\u003cp>Besides being a one of the most in-demand soloists working in classical music today, Wang is a social media sensation who manages to appeal to young people who might not otherwise be drawn to classical music. She is also vivacious, attractive and known for her vibrant onstage outfits – including a dress decorated entirely with silver sequins which Wang says makes her look like a mermaid. She likes to wear it when playing Beethoven.\u003c/p>\n\u003cp>Once the pianist takes her seat at the keyboard though, it’s all about the music. As Wang puts it: “The music speaks, everything else goes away. The music itself speaks to the soul, it connects humanity.”\u003c/p>\n\u003cp>\u003cem>Some of the footage in the video comes courtesy of \u003ca href=\"https://www.youtube.com/user/SoundTracksQH\" target=\"_blank\" rel=\"noopener\"> PBS Sound Tracks\u003c/a> and the \u003ca href=\"https://www.youtube.com/user/Lso\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This video was co-produced with PBS NewsHour.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”P6Ubppts0fEjKi7hsYYxNWrjNKPnEYCs”]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Michael Tilson Thomas, music director of the San Francisco Symphony, works with precocious young musicians, they generally show up with an entourage of parents, teachers, coaches and publicists. But not Yuja Wang. “What was so different about her, she simply appeared,” the conductor says of the first time he met and started working with the world renowned pianist, who was then just 17. “She said, ‘Hi. I’m here! What do we do?’”\u003c/p>\n\u003cp>The resulting years have led to a fruitful artistic collaboration between Tilson Thomas and Wang. The conductor, who’s long been a mentor as well as close friend of Wang’s, sees his role as a supportive one. “It’s my responsibility to make the soloist comfortable because that will create a situation in which they can make the most brilliant and delightful contribution for the listeners,” Tilson Thomas says.\u003c/p>\n\u003cp>Besides being a one of the most in-demand soloists working in classical music today, Wang is a social media sensation who manages to appeal to young people who might not otherwise be drawn to classical music. She is also vivacious, attractive and known for her vibrant onstage outfits – including a dress decorated entirely with silver sequins which Wang says makes her look like a mermaid. She likes to wear it when playing Beethoven.\u003c/p>\n\u003cp>Once the pianist takes her seat at the keyboard though, it’s all about the music. As Wang puts it: “The music speaks, everything else goes away. The music itself speaks to the soul, it connects humanity.”\u003c/p>\n\u003cp>\u003cem>Some of the footage in the video comes courtesy of \u003ca href=\"https://www.youtube.com/user/SoundTracksQH\" target=\"_blank\" rel=\"noopener\"> PBS Sound Tracks\u003c/a> and the \u003ca href=\"https://www.youtube.com/user/Lso\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and David's Picks: The Dear Hunter, a Diminutive Dynamo, and a Week of Dance",
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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/2015/09/20150925tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\">The Dear Hunter. \u003c/a> \u003c/strong>Casey Crescenzo has written and recorded a symphony, had a series of concept EPs based on colors, and just released the fourth album in what’s going to be a six-album series — including a collaboration with the Bay Area’s Awesome Orchestra.\u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth.\u003c/a>\u003c/strong> The diminutive dynamo — and Emmy- and Tony-winner — performs songs from her latest album, \u003cem>Coming Home\u003c/em>, at the Mountain Winery. \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\"> Tobias Jesso Jr. \u003c/a>\u003c/strong>The gangly, painstakingly earnest singer-songwriter-pianist brings songs from his buzzy debut, \u003cem>Goons\u003c/em>, to San Francisco. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Mariinsky Ballet and Orchestra’s ‘Cinderella.’ \u003c/a>\u003c/strong>Commissioned for the Mariinsky in 2002, the production launched choreographer Alexei Ratmansky to international stardom, earning him a reputation for revitalizing classic ballet with urbane sophistication and modern storytelling. \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Needles to Thread: Dancing Along These Lines in Continuum Alley. \u003c/a>\u003c/strong>Jo Kreiter’s Flyaway Productions present a new piece inspired by immigrant women who work in the garment industry, drawing from a number of lenses: gymnastics, Chinese pole acrobatics, social justice and urban revitalization, feminism. \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shout-Out: Thursday, Oct. 1: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12774\" target=\"_blank\" rel=\"noopener\">Big Star’s ‘Third’ at Great American Music Hall.\u003c/a>\u003c/strong> A warm-up for Hardly Strictly Bluegrass. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12774\" 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>Saturday, Sept. 26: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\">The Dear Hunter. \u003c/a> \u003c/strong>Casey Crescenzo has written and recorded a symphony, had a series of concept EPs based on colors, and just released the fourth album in what’s going to be a six-album series — including a collaboration with the Bay Area’s Awesome Orchestra.\u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12104\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth.\u003c/a>\u003c/strong> The diminutive dynamo — and Emmy- and Tony-winner — performs songs from her latest album, \u003cem>Coming Home\u003c/em>, at the Mountain Winery. \u003ca href=\"http://www.axs.com/events/275446/an-evening-with-kristin-chenoweth-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Sept. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\"> Tobias Jesso Jr. \u003c/a>\u003c/strong>The gangly, painstakingly earnest singer-songwriter-pianist brings songs from his buzzy debut, \u003cem>Goons\u003c/em>, to San Francisco. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tobias-jesso-jr/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Mariinsky Ballet and Orchestra’s ‘Cinderella.’ \u003c/a>\u003c/strong>Commissioned for the Mariinsky in 2002, the production launched choreographer Alexei Ratmansky to international stardom, earning him a reputation for revitalizing classic ballet with urbane sophistication and modern storytelling. \u003ca href=\"http://calperformances.org/performances/2015-16/dance/mariinsky-ballet-orchestra-cinderella.php\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 1 – Sunday, Oct. 4: \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Needles to Thread: Dancing Along These Lines in Continuum Alley. \u003c/a>\u003c/strong>Jo Kreiter’s Flyaway Productions present a new piece inspired by immigrant women who work in the garment industry, drawing from a number of lenses: gymnastics, Chinese pole acrobatics, social justice and urban revitalization, feminism. \u003ca href=\"http://flyawayproductions.com\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Entertainment Commission: Nightlife Heroes, or 'Instrument of Destruction'?",
"headTitle": "Entertainment Commission: Nightlife Heroes, or ‘Instrument of Destruction’? | KQED",
"content": "\u003cp>\u003cem>SF Sounds\u003c/em> is a new music publication, printed in a run of 25,000 and distributed for free throughout San Francisco. The first issue, released in September, is boosterish and basic. It previews shows and fluffs local artists with snappy interviews in the serviceable way one would expect from a handout underwritten by a managing partner at the \u003ca href=\"http://parishmusicgroup.com/\" target=\"_blank\" rel=\"noopener\">Parish Entertainment Group\u003c/a>, the umbrella company for venues including the Brick & Mortar Music Hall, a nightclub in San Francisco, and Leo’s Music Club and the New Parish, in Oakland.\u003c/p>\n\u003cp>That benevolent, advertorial bent is also the reason why its central editorial statement — a screed alleging egregious corruption and conflicts of interest at the \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">San Francisco Entertainment Commission\u003c/a>, drearily titled “The Selling of Our Cultural Soul” — seems so surprisingly vindictive.\u003c/p>\n\u003cfigure id=\"attachment_10974932\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg\" alt=\"The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\" width=\"640\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-400x433.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-554x600.jpg 554w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\u003c/figcaption>\u003c/figure>\n\u003cp>The editorial in \u003cem>SF Sounds\u003c/em> \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SFSounds_sm.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 10MB]\u003c/a> is unsigned, but when interviewed for this story, Parish Entertainment Group managing partner Jason Perkins acknowledges co-authorship.\u003c/p>\n\u003cp>Perkins’ editorial aims at Commissioner Audrey Joseph, a nightlife veteran and celebrated figure in the LGBTQ community who was appointed to the Commission in 2003. It also lambasts the Commission for allegedly fast-tracking large venues operated by corporations like Live Nation and Goldenvoice, and for watching “idly” as venues like Cafe du Nord, the Elbo Room and Viracocha are “dismantled by rising rents and sound complaints.”\u003c/p>\n\u003cp>His campaign has a vengeful tone: Beyond the strongly worded editorial, Perkins cries corruption in comments on articles about the commissioner’s \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">new role as Director of Events at the Mission District’s historic Armory Building\u003c/a>, and, to KQED, declares the Commission an “instrument of our destruction.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet, amidst the current tech boom, Perkins’ anger resonates with many local musicians and fans. Local clubs are in a bad way: In the past year, Cafe Du Nord’s new ownership has \u003ca href=\"http://ww2.kqed.org/arts/2015/06/15/cafe-du-nord-to-reopen-as-sit-down-restaurant-with-quiet-music/\" target=\"_blank\" rel=\"noopener\">done away with louder bands\u003c/a> and introduced dinnertime music. Submission, one of very few places for all-ages events, shuttered. Yoshi’s spinoff the Addition \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">floundered\u003c/a>, leaving behind massive debt. The Elbo Room is \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">hanging on by a thread\u003c/a>. Meanwhile, massive venues clamber to host the high-profile headliners for whom San Francisco is a crucial market. Both Perkins and Joseph style themselves as crusaders for local music; their clash exemplifies the fraught and emotional discourse surrounding an invaluable component of the city’s cultural character.\u003c/p>\n\u003cp>At this precarious, transitional moment for San Francisco nightlife, it warrants investigation: is Perkins exposing a broken system? Separating his bluster from basic facts reveals some inaccuracies, but also some salient concerns.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘On a rampage’\u003c/h3>\n\u003cp>Strife between Perkins and the Commission dates back to 2013, when the club owner \u003ca href=\"http://www.sfweekly.com/shookdown/2013/05/22/club-owner-alleges-city-inspector-punishes-venues-that-dont-use-his-security-company\" target=\"_blank\" rel=\"noopener\">alleged that Brick & Mortar’s decibel threshold was downgraded\u003c/a> because he declined to employ a security company tied to Vajra Granelli, at the time an inspector for the Entertainment Commission.\u003c/p>\n\u003cp>Indeed, his article rehashes the episode in stark terms, asserting that “32 clubs [were] forced to pay Inspector Granelli $64/hour to stay open and out of trouble with the Entertainment Commission.” At the time, the Entertainment Commission’s executive director Jocelyn Kane defended Granelli in the press. (Reached recently by phone, Kane acknowledged that Granelli resigned amid the allegations; a subsequent San Francisco City Attorney investigation resulted in no charges.)\u003c/p>\n\u003cp>Perkins’ article also points to Joseph’s current position at the Armory — a building best known for housing fetish-porn site Kink.com — as evidence of a regulatory fast-lane in permitting the large space for live events, such as a Chemical Brothers show this past July.\u003c/p>\n\u003cp>“It’s shocking to me to see such incredibly bad governance and conflicts of interest,” Perkins says. “The thing that really struck was how naked it was.”\u003c/p>\n\u003cp>For her part, Joseph was flummoxed by the piece. “[It’s] full of inaccuracies and sounded like an attack on me personally,” she writes in an email. “It seems like Mr. Perkins is on a rampage.” In a later phone call, she adds, “I have no idea why he decided to attack me.”\u003c/p>\n\u003cp>Perkins’ assertion that permitting the space was inappropriately exempted from public hearing doesn’t hold; the Armory hosts occasional happenings via one-time event permits, regularly applied for and granted without hearing. And to Perkins’ charge that the Armory is awry in the eyes of the Planning Department, a representative said that though the space is not approved for regularly scheduled music events, it operates in compliance with its Temporary Use Authorization.\u003c/p>\n\u003cp>Which isn’t to say that an aspirant 4,000 capacity venue employing a Commissioner doesn’t deserve scrutiny. Even while acknowledging that Joseph is allowed, by City Hall, to work in her field, critics quoted in \u003ca href=\"http://www.sfweekly.com/sanfrancisco/for-entertainment-purposes-only/Content?oid=2173295&showFullText=true\" target=\"_blank\" rel=\"noopener\">extensive prior reporting\u003c/a> on the Entertainment Commission call it an “ethical minefield.”\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10917233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Consulting and transparency\u003c/h3>\n\u003cp>For many years, in addition to the Entertainment Commission job, Joseph ran a consulting company. Last year, she consulted for the Armory; her 2014 Statement of Economic Interests form \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JosephSEI2014.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 146kb]\u003c/a> states that her eponymous company grossed between $10,000 and $100,000 in income from the Armory Community Center. (By phone, Joseph’s own estimates hover around $14,000.) Joseph became director of the Armory on Jan. 5 of this year, and she acknowledges that her new role at the Armory forces her to recuse herself on Armory matters with the Commission, and excludes interactions with any and all city departments on behalf of the Armory.\u003c/p>\n\u003cp>Over email, however, the Planning Department’s Senior Advisor for Special Projects, Daniel Sider, writes in regards to the Armory’s ongoing efforts towards becoming a full-fledged venue that “[Joseph] works for the Armory and has been — at least to the extent I’ve been involved with this case — the primary point of contact.” That appears to violate the Commission’s Statement of Incompatible Activities \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Entertainment_Commission_SIA.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 59kb]\u003c/a> and city ethics rules prohibiting inter-departmental lobbying on behalf of citizens. (Joseph denies directly interacting with the Planning Department.)\u003c/p>\n\u003cp>On her 2014 form, Joseph also reported a $600 gift in the form of festival tickets from Another Planet Entertainment, one of the large promoters she noted in KQED’s recent interview as a potential source of future bookings at the Armory. Earlier this month, Perkins continued his campaign against Joseph by formally complaining to the Ethics Commission about the free festival tickets. (The complaint has not yet been settled, but isn’t without precedent; in 2009, SFGate \u003ca href=\"http://blog.sfgate.com/cityinsider/2009/08/17/complaint-filed-against-city-commissioner/\" target=\"_blank\" rel=\"noopener\">reported on another complaint\u003c/a> after Joseph appeared before the Small Business Commission to vouch for two hopeful club owners who she clearly identified as clients.)\u003c/p>\n\u003cp>Ethics Commission complaints and investigations are typically conducted confidentially, but Perkins is keen to take credit for his recent filing. Indeed, he makes a point of contrasting his belief in transparency with what he considers the Commission’s opaque dealings.\u003c/p>\n\u003cp>And that’s the thing: attacks on the grounds of conflicts of interest and transparency tend to boomerang.\u003c/p>\n\u003cfigure id=\"attachment_10974933\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10974933\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg\" alt=\"Ghost and Gale perform at the Brick and Mortar Music Hall.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ghost and Gale perform at the Brick and Mortar Music Hall. \u003ccite>(Travis Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As mentioned, the \u003cem>SF Sounds\u003c/em> editorial is not bylined; Perkins’ name appears nowhere on the paper’s masthead. Furthermore, there’s no acknowledgment that the Parish Entertainment Group’s managing partner underwrites the paper, which predominantly features ads and editorial copy promoting the company’s own shows. It also includes an interview with one of its own employees — Gina Madrid, a.k.a. Raw-G — without disclosure. And the editorial botches numbers, inflating the Armory’s capacity by 500, for instance. Also, it oddly claims that the Masonic Auditorium, operated by Live Nation, was not given public hearing, but records clearly indicate extensive — and contentious — public comment from members of the Nob Hill community.\u003c/p>\n\u003cp>Plus, the \u003cem>SF Sounds\u003c/em> editorial doesn’t state that Joseph was offered any opportunity to respond. Perkins tells me that he reached out to Joseph “ten times,” but hasn’t forwarded the emails. Joseph staunchly denies receiving request for comment.\u003c/p>\n\u003ch3>‘We don’t have the money’\u003c/h3>\n\u003cp>Though \u003cem>SF Sounds\u003c/em> doesn’t demonstrate the journalistic credibility that Perkins asks from other media outlets, a broader takeaway from his editorial does feel resonant.\u003c/p>\n\u003cp>The Commission’s \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">stated purpose\u003c/a> includes both regulation and promotion of nightlife — a strange dual calling, whose inherent conflict has long been fodder for critics. Promoting nightlife entails enabling it to generate revenue — not the strong suit of many much-beloved smaller clubs — and trumpeting its cash flow: when \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">asked by KQED recently how she viewed the local club scene\u003c/a>, for example, Joseph emphasized its economic impact in jobs, payroll taxes, and dollars spent in the city.\u003c/p>\n\u003cp>Larger concert promoters like Live Nation and Goldenvoice, who book primarily touring acts, supply a sizable economic impact from concerts at the Regency Ballroom, the Fillmore, the Masonic Auditorium, the Warfield, and AT&T Park. In dealing with City Hall, these larger corporations are also able to hire consultants to navigate permits, and attorneys to challenge citations.\u003c/p>\n\u003cp>Small club owners, meanwhile, are the ones booking and paying local musicians. And some of them feel that the Commission’s oversight further burdens their struggle against the riptide of displacement.\u003c/p>\n\u003cfigure id=\"attachment_10974934\" class=\"wp-caption alignright\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TheLab.jpg\" alt=\"Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city.\" width=\"1136\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-960x541.jpg 960w\" sizes=\"(max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city. \u003ccite>(Photo: The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not convinced that the City of San Francisco supports edgier nonprofit art spaces,” says Dena Beard, Executive Director of Mission District arts space \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. She commends Supervisor David Campos’ office, but says that the Commission was intractable regarding the Lab’s request to host one higher decibel level show per month.\u003c/p>\n\u003cp>“As a result, we’ve had to dissolve a significant part of our experimental music program, displacing those artists to smaller venues in Oakland and denying San Francisco access to some of the greatest sound artists in the world,” Beard says, adding, “It’s disheartening, to say the least.”\u003c/p>\n\u003cp>Don Alan, who’s owned \u003ca href=\"http://www.casanovasf.com/\" target=\"_blank\" rel=\"noopener\">Casanova Lounge\u003c/a> and rock fixture the \u003ca href=\"http://www.hemlocktavern.com/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> for a combined 31 years, takes a broad view of the Commission. He speaks for the smaller clubs for whom live entertainment is more of a liability than a commercial asset — especially when subject to the strictures of an inflexible bureaucracy’s microscopic oversight.\u003c/p>\n\u003cp>“People who run smaller clubs are more vulnerable to regulatory sources, because we don’t have the money to hire lawyers and lobbyists,” Alan says. “I’ve had problems. We had a bar where people played records. No one complained, but [the Entertainment Commission] said we couldn’t. They solved a problem that didn’t exist.” Referencing Granelli, he adds, “The guy who enforced it turned out to be corrupt.”\u003c/p>\n\u003cp>Of course, small club owners like Alan benefited when the Commission earlier this year joined several city departments in approving \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">legislation aimed at curbing the damage of San Francisco newcomers’ complaints\u003c/a>. The measure, spearheaded by Board of Supervisors President London Breed, obligates developers to disclose nearby nightlife to prospective tenants, and limits residents’ ability to file noise complaints against clubs that comply with their permits.\u003c/p>\n\u003cp>Alan adds of the Entertainment Commission, “I feel like if the Hemlock were under attack I’d at least have a forum. It used to be more vulnerable for us… Back in the day, you had police captains using their influence to push agendas. That made life very difficult for some club owners, but easy for favored ones. The Commission was set up to neutralize that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perkins, who finds the SFPD “to be far more ethical and have far higher standards of interacting with club owners,” says he’d rather deal with the cops.\u003c/p>\n\n",
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"excerpt": "Club owner Jason Perkins alleges the governmental body established to promote nightlife in San Francisco is actually ruining it. Is there any truth to his bluster?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>SF Sounds\u003c/em> is a new music publication, printed in a run of 25,000 and distributed for free throughout San Francisco. The first issue, released in September, is boosterish and basic. It previews shows and fluffs local artists with snappy interviews in the serviceable way one would expect from a handout underwritten by a managing partner at the \u003ca href=\"http://parishmusicgroup.com/\" target=\"_blank\" rel=\"noopener\">Parish Entertainment Group\u003c/a>, the umbrella company for venues including the Brick & Mortar Music Hall, a nightclub in San Francisco, and Leo’s Music Club and the New Parish, in Oakland.\u003c/p>\n\u003cp>That benevolent, advertorial bent is also the reason why its central editorial statement — a screed alleging egregious corruption and conflicts of interest at the \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">San Francisco Entertainment Commission\u003c/a>, drearily titled “The Selling of Our Cultural Soul” — seems so surprisingly vindictive.\u003c/p>\n\u003cfigure id=\"attachment_10974932\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg\" alt=\"The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\" width=\"640\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-400x433.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-554x600.jpg 554w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\u003c/figcaption>\u003c/figure>\n\u003cp>The editorial in \u003cem>SF Sounds\u003c/em> \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SFSounds_sm.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 10MB]\u003c/a> is unsigned, but when interviewed for this story, Parish Entertainment Group managing partner Jason Perkins acknowledges co-authorship.\u003c/p>\n\u003cp>Perkins’ editorial aims at Commissioner Audrey Joseph, a nightlife veteran and celebrated figure in the LGBTQ community who was appointed to the Commission in 2003. It also lambasts the Commission for allegedly fast-tracking large venues operated by corporations like Live Nation and Goldenvoice, and for watching “idly” as venues like Cafe du Nord, the Elbo Room and Viracocha are “dismantled by rising rents and sound complaints.”\u003c/p>\n\u003cp>His campaign has a vengeful tone: Beyond the strongly worded editorial, Perkins cries corruption in comments on articles about the commissioner’s \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">new role as Director of Events at the Mission District’s historic Armory Building\u003c/a>, and, to KQED, declares the Commission an “instrument of our destruction.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, amidst the current tech boom, Perkins’ anger resonates with many local musicians and fans. Local clubs are in a bad way: In the past year, Cafe Du Nord’s new ownership has \u003ca href=\"http://ww2.kqed.org/arts/2015/06/15/cafe-du-nord-to-reopen-as-sit-down-restaurant-with-quiet-music/\" target=\"_blank\" rel=\"noopener\">done away with louder bands\u003c/a> and introduced dinnertime music. Submission, one of very few places for all-ages events, shuttered. Yoshi’s spinoff the Addition \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">floundered\u003c/a>, leaving behind massive debt. The Elbo Room is \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">hanging on by a thread\u003c/a>. Meanwhile, massive venues clamber to host the high-profile headliners for whom San Francisco is a crucial market. Both Perkins and Joseph style themselves as crusaders for local music; their clash exemplifies the fraught and emotional discourse surrounding an invaluable component of the city’s cultural character.\u003c/p>\n\u003cp>At this precarious, transitional moment for San Francisco nightlife, it warrants investigation: is Perkins exposing a broken system? Separating his bluster from basic facts reveals some inaccuracies, but also some salient concerns.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘On a rampage’\u003c/h3>\n\u003cp>Strife between Perkins and the Commission dates back to 2013, when the club owner \u003ca href=\"http://www.sfweekly.com/shookdown/2013/05/22/club-owner-alleges-city-inspector-punishes-venues-that-dont-use-his-security-company\" target=\"_blank\" rel=\"noopener\">alleged that Brick & Mortar’s decibel threshold was downgraded\u003c/a> because he declined to employ a security company tied to Vajra Granelli, at the time an inspector for the Entertainment Commission.\u003c/p>\n\u003cp>Indeed, his article rehashes the episode in stark terms, asserting that “32 clubs [were] forced to pay Inspector Granelli $64/hour to stay open and out of trouble with the Entertainment Commission.” At the time, the Entertainment Commission’s executive director Jocelyn Kane defended Granelli in the press. (Reached recently by phone, Kane acknowledged that Granelli resigned amid the allegations; a subsequent San Francisco City Attorney investigation resulted in no charges.)\u003c/p>\n\u003cp>Perkins’ article also points to Joseph’s current position at the Armory — a building best known for housing fetish-porn site Kink.com — as evidence of a regulatory fast-lane in permitting the large space for live events, such as a Chemical Brothers show this past July.\u003c/p>\n\u003cp>“It’s shocking to me to see such incredibly bad governance and conflicts of interest,” Perkins says. “The thing that really struck was how naked it was.”\u003c/p>\n\u003cp>For her part, Joseph was flummoxed by the piece. “[It’s] full of inaccuracies and sounded like an attack on me personally,” she writes in an email. “It seems like Mr. Perkins is on a rampage.” In a later phone call, she adds, “I have no idea why he decided to attack me.”\u003c/p>\n\u003cp>Perkins’ assertion that permitting the space was inappropriately exempted from public hearing doesn’t hold; the Armory hosts occasional happenings via one-time event permits, regularly applied for and granted without hearing. And to Perkins’ charge that the Armory is awry in the eyes of the Planning Department, a representative said that though the space is not approved for regularly scheduled music events, it operates in compliance with its Temporary Use Authorization.\u003c/p>\n\u003cp>Which isn’t to say that an aspirant 4,000 capacity venue employing a Commissioner doesn’t deserve scrutiny. Even while acknowledging that Joseph is allowed, by City Hall, to work in her field, critics quoted in \u003ca href=\"http://www.sfweekly.com/sanfrancisco/for-entertainment-purposes-only/Content?oid=2173295&showFullText=true\" target=\"_blank\" rel=\"noopener\">extensive prior reporting\u003c/a> on the Entertainment Commission call it an “ethical minefield.”\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10917233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Consulting and transparency\u003c/h3>\n\u003cp>For many years, in addition to the Entertainment Commission job, Joseph ran a consulting company. Last year, she consulted for the Armory; her 2014 Statement of Economic Interests form \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JosephSEI2014.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 146kb]\u003c/a> states that her eponymous company grossed between $10,000 and $100,000 in income from the Armory Community Center. (By phone, Joseph’s own estimates hover around $14,000.) Joseph became director of the Armory on Jan. 5 of this year, and she acknowledges that her new role at the Armory forces her to recuse herself on Armory matters with the Commission, and excludes interactions with any and all city departments on behalf of the Armory.\u003c/p>\n\u003cp>Over email, however, the Planning Department’s Senior Advisor for Special Projects, Daniel Sider, writes in regards to the Armory’s ongoing efforts towards becoming a full-fledged venue that “[Joseph] works for the Armory and has been — at least to the extent I’ve been involved with this case — the primary point of contact.” That appears to violate the Commission’s Statement of Incompatible Activities \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Entertainment_Commission_SIA.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 59kb]\u003c/a> and city ethics rules prohibiting inter-departmental lobbying on behalf of citizens. (Joseph denies directly interacting with the Planning Department.)\u003c/p>\n\u003cp>On her 2014 form, Joseph also reported a $600 gift in the form of festival tickets from Another Planet Entertainment, one of the large promoters she noted in KQED’s recent interview as a potential source of future bookings at the Armory. Earlier this month, Perkins continued his campaign against Joseph by formally complaining to the Ethics Commission about the free festival tickets. (The complaint has not yet been settled, but isn’t without precedent; in 2009, SFGate \u003ca href=\"http://blog.sfgate.com/cityinsider/2009/08/17/complaint-filed-against-city-commissioner/\" target=\"_blank\" rel=\"noopener\">reported on another complaint\u003c/a> after Joseph appeared before the Small Business Commission to vouch for two hopeful club owners who she clearly identified as clients.)\u003c/p>\n\u003cp>Ethics Commission complaints and investigations are typically conducted confidentially, but Perkins is keen to take credit for his recent filing. Indeed, he makes a point of contrasting his belief in transparency with what he considers the Commission’s opaque dealings.\u003c/p>\n\u003cp>And that’s the thing: attacks on the grounds of conflicts of interest and transparency tend to boomerang.\u003c/p>\n\u003cfigure id=\"attachment_10974933\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10974933\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg\" alt=\"Ghost and Gale perform at the Brick and Mortar Music Hall.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ghost and Gale perform at the Brick and Mortar Music Hall. \u003ccite>(Travis Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As mentioned, the \u003cem>SF Sounds\u003c/em> editorial is not bylined; Perkins’ name appears nowhere on the paper’s masthead. Furthermore, there’s no acknowledgment that the Parish Entertainment Group’s managing partner underwrites the paper, which predominantly features ads and editorial copy promoting the company’s own shows. It also includes an interview with one of its own employees — Gina Madrid, a.k.a. Raw-G — without disclosure. And the editorial botches numbers, inflating the Armory’s capacity by 500, for instance. Also, it oddly claims that the Masonic Auditorium, operated by Live Nation, was not given public hearing, but records clearly indicate extensive — and contentious — public comment from members of the Nob Hill community.\u003c/p>\n\u003cp>Plus, the \u003cem>SF Sounds\u003c/em> editorial doesn’t state that Joseph was offered any opportunity to respond. Perkins tells me that he reached out to Joseph “ten times,” but hasn’t forwarded the emails. Joseph staunchly denies receiving request for comment.\u003c/p>\n\u003ch3>‘We don’t have the money’\u003c/h3>\n\u003cp>Though \u003cem>SF Sounds\u003c/em> doesn’t demonstrate the journalistic credibility that Perkins asks from other media outlets, a broader takeaway from his editorial does feel resonant.\u003c/p>\n\u003cp>The Commission’s \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">stated purpose\u003c/a> includes both regulation and promotion of nightlife — a strange dual calling, whose inherent conflict has long been fodder for critics. Promoting nightlife entails enabling it to generate revenue — not the strong suit of many much-beloved smaller clubs — and trumpeting its cash flow: when \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">asked by KQED recently how she viewed the local club scene\u003c/a>, for example, Joseph emphasized its economic impact in jobs, payroll taxes, and dollars spent in the city.\u003c/p>\n\u003cp>Larger concert promoters like Live Nation and Goldenvoice, who book primarily touring acts, supply a sizable economic impact from concerts at the Regency Ballroom, the Fillmore, the Masonic Auditorium, the Warfield, and AT&T Park. In dealing with City Hall, these larger corporations are also able to hire consultants to navigate permits, and attorneys to challenge citations.\u003c/p>\n\u003cp>Small club owners, meanwhile, are the ones booking and paying local musicians. And some of them feel that the Commission’s oversight further burdens their struggle against the riptide of displacement.\u003c/p>\n\u003cfigure id=\"attachment_10974934\" class=\"wp-caption alignright\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TheLab.jpg\" alt=\"Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city.\" width=\"1136\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-960x541.jpg 960w\" sizes=\"(max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city. \u003ccite>(Photo: The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not convinced that the City of San Francisco supports edgier nonprofit art spaces,” says Dena Beard, Executive Director of Mission District arts space \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. She commends Supervisor David Campos’ office, but says that the Commission was intractable regarding the Lab’s request to host one higher decibel level show per month.\u003c/p>\n\u003cp>“As a result, we’ve had to dissolve a significant part of our experimental music program, displacing those artists to smaller venues in Oakland and denying San Francisco access to some of the greatest sound artists in the world,” Beard says, adding, “It’s disheartening, to say the least.”\u003c/p>\n\u003cp>Don Alan, who’s owned \u003ca href=\"http://www.casanovasf.com/\" target=\"_blank\" rel=\"noopener\">Casanova Lounge\u003c/a> and rock fixture the \u003ca href=\"http://www.hemlocktavern.com/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> for a combined 31 years, takes a broad view of the Commission. He speaks for the smaller clubs for whom live entertainment is more of a liability than a commercial asset — especially when subject to the strictures of an inflexible bureaucracy’s microscopic oversight.\u003c/p>\n\u003cp>“People who run smaller clubs are more vulnerable to regulatory sources, because we don’t have the money to hire lawyers and lobbyists,” Alan says. “I’ve had problems. We had a bar where people played records. No one complained, but [the Entertainment Commission] said we couldn’t. They solved a problem that didn’t exist.” Referencing Granelli, he adds, “The guy who enforced it turned out to be corrupt.”\u003c/p>\n\u003cp>Of course, small club owners like Alan benefited when the Commission earlier this year joined several city departments in approving \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">legislation aimed at curbing the damage of San Francisco newcomers’ complaints\u003c/a>. The measure, spearheaded by Board of Supervisors President London Breed, obligates developers to disclose nearby nightlife to prospective tenants, and limits residents’ ability to file noise complaints against clubs that comply with their permits.\u003c/p>\n\u003cp>Alan adds of the Entertainment Commission, “I feel like if the Hemlock were under attack I’d at least have a forum. It used to be more vulnerable for us… Back in the day, you had police captains using their influence to push agendas. That made life very difficult for some club owners, but easy for favored ones. The Commission was set up to neutralize that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perkins, who finds the SFPD “to be far more ethical and have far higher standards of interacting with club owners,” says he’d rather deal with the cops.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes using electronics makes life much easier for musicians. You can replace your band with backing tracks; you can make \u003ca href=\"http://ww2.kqed.org/news/2015/08/20/the-origins-of-hella\" target=\"_blank\" rel=\"noopener\">hella\u003c/a> cash touring as two people instead of five; you can click a button on your Macbook and pretend to DJ while the computer handles the rest (yes, \u003ca href=\"http://www.davidguetta.com/\" target=\"_blank\" rel=\"noopener\">it happens\u003c/a>).\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/225292733″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>But for bands like the Seshen, the computer doesn’t offer an easy way out, but rather an opportunity for exploration. On both their 2012 self-titled LP and last year’s \u003ci>Unravel\u003c/i> EP, the Bay Area seven-piece utilize electronics and digital manipulation to add unexpected textures and sounds to their maximalist compositions, focusing on the sonic horizon where the human instrument ends and the artificial takes over.\u003c/p>\n\u003cp>Listen in as vocalist Lalin St. Juste, bassist/producer Aki Ehara and percussionist Mirza Kopelman explain the editing process behind their riveting track “Shapes,” their love of weird, unstable pitches, and the tightrope act they call the “human-robot conundrum.” And \u003ca href=\"http://clubleos.com/event.cfm?id=216513&cart\" target=\"_blank\" rel=\"noopener\">don’t miss the band\u003c/a> this coming Tuesday, Sept. 29, at Leo’s, when they play the final show of their “Love, Oakland” residency.\u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harry Partch – “Windsong”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes using electronics makes life much easier for musicians. You can replace your band with backing tracks; you can make \u003ca href=\"http://ww2.kqed.org/news/2015/08/20/the-origins-of-hella\" target=\"_blank\" rel=\"noopener\">hella\u003c/a> cash touring as two people instead of five; you can click a button on your Macbook and pretend to DJ while the computer handles the rest (yes, \u003ca href=\"http://www.davidguetta.com/\" target=\"_blank\" rel=\"noopener\">it happens\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/225292733″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/225292733″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But for bands like the Seshen, the computer doesn’t offer an easy way out, but rather an opportunity for exploration. On both their 2012 self-titled LP and last year’s \u003ci>Unravel\u003c/i> EP, the Bay Area seven-piece utilize electronics and digital manipulation to add unexpected textures and sounds to their maximalist compositions, focusing on the sonic horizon where the human instrument ends and the artificial takes over.\u003c/p>\n\u003cp>Listen in as vocalist Lalin St. Juste, bassist/producer Aki Ehara and percussionist Mirza Kopelman explain the editing process behind their riveting track “Shapes,” their love of weird, unstable pitches, and the tightrope act they call the “human-robot conundrum.” And \u003ca href=\"http://clubleos.com/event.cfm?id=216513&cart\" target=\"_blank\" rel=\"noopener\">don’t miss the band\u003c/a> this coming Tuesday, Sept. 29, at Leo’s, when they play the final show of their “Love, Oakland” residency.\u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Judge Throws Out Publisher's Claim to 'Happy Birthday' Copyright",
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"content": "\u003cp>LOS ANGELES — In a gift to many musicians, moviemakers and other content creators, a federal judge has found that the song \"Happy Birthday To You\" is entirely in the public domain.\u003c/p>\n\u003cp>The ruling could mean millions lost for the music publishing company that has been collecting on the copyright to one of the most widely sung songs in the world.\u003c/p>\n\u003cfigure id=\"attachment_10694173\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg\">\u003cimg class=\"wp-image-10694173 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg\" alt='Words and music to the song, \"Happy Birthday\" -- also known as \"Happy Birthday to You.\"' width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-800x668.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg 849w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Words and music to the song 'Happy Birthday' -- also known as 'Happy Birthday to You.'\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. District Judge George H. King found Tuesday that the song's original copyright, obtained by the Clayton F. Summy Co. from the song's writers and bought for $15 million in 1988 by Warner/Chappell Music Inc., covered only specific piano arrangements of the song, not its lyrics.\u003c/p>\n\u003cp>The basic \"Happy Birthday\" melody, derived from another popular children's song, \"Good Morning to All,\" has long been in the public domain, and King's decision, though it could be appealed, makes the entirety fair game for use.\u003c/p>\n\u003cp>\" 'Happy Birthday' is finally free after 80 years,\" Randall Newman, one of the plaintiffs' attorneys, told the Los Angeles Times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the co-plaintiffs, \u003ca href=\"https://www.facebook.com/rupamarya\" target=\"_blank\">Rupa Marya\u003c/a> of the San Francisco-based group \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\">Rupa and The April Fishes\u003c/a>, also praised the decision as momentous, saying, \"I hope we can start reimagining copyright law to do what it's supposed to do -- protect the creations of people who make stuff so that we can continue to make more stuff.\"\u003c/p>\n\u003cp>Marya said she had paid Warner/Chappell $455 to include the song on a live album during which members of her band and the audience sang the song to her the night before her birthday.\u003c/p>\n\u003cp>Warner/Chappell has said it doesn't try to collect royalties from just anyone singing the song but those who use it in a commercial enterprise.\u003c/p>\n\u003cp>\"We are looking at the court's lengthy opinion and considering our options,\" Warner/Chappell said in a statement following Tuesday's ruling.\u003c/p>\n\u003cp>King's decision comes in a lawsuit filed two years ago by Good Morning To You Productions Corp., which is working on a documentary film tentatively titled \"Happy Birthday.\" The company challenged the copyright, arguing that the song should be \"dedicated to public use and in the public domain.\"\u003c/p>\n\u003cp>\"Because Summy Co. never acquired the rights to the 'Happy Birthday' lyrics, defendants, as Summy Co.'s purported successors-in-interest, do not own a valid copyright in the Happy Birthday lyrics,\" King concluded in his 43-page ruling.\u003c/p>\n\u003cp>The lawsuit also asked for monetary damages and restitution of more than $5 million in licensing fees it said in 2013 that Warner/Chappell had collected from thousands of people and groups who have paid to use the song over the years.\u003c/p>\n\u003cp>Marshall Lamm, a spokesman for one of the plaintiffs' lawyers, said that issue would be determined later.\u003c/p>\n\u003cp>In his ruling, King went into great detail about the history of \"Happy Birthday To You,\" and its derivation from \"Good Morning to All.\"\u003c/p>\n\u003cp>That song was written by sisters Mildred Hill and Patty Hill sometime before 1893, the judge said, adding that the sisters assigned the rights to it and other songs to Clayton F. Summy, who copyrighted and published them in a book titled \"Song Stories for the Kindergarten.\"\u003c/p>\n\u003cp>\"The origins of the lyrics to Happy Birthday ... are less clear,\" the judge continued, adding the first known reference to them appeared in a 1901 article in the Inland Educator and Indiana School Journal.\u003c/p>\n\u003cp>The full lyrics themselves, King said, didn't appear in print until 1911.\u003c/p>\n\u003cp>Since then, they have become the most famous lyrics in the English language, according to Guinness World Records. The song is also sung in countless other languages around the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Andrew Dalton contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES — In a gift to many musicians, moviemakers and other content creators, a federal judge has found that the song \"Happy Birthday To You\" is entirely in the public domain.\u003c/p>\n\u003cp>The ruling could mean millions lost for the music publishing company that has been collecting on the copyright to one of the most widely sung songs in the world.\u003c/p>\n\u003cfigure id=\"attachment_10694173\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg\">\u003cimg class=\"wp-image-10694173 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg\" alt='Words and music to the song, \"Happy Birthday\" -- also known as \"Happy Birthday to You.\"' width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-800x668.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg 849w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Words and music to the song 'Happy Birthday' -- also known as 'Happy Birthday to You.'\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. District Judge George H. King found Tuesday that the song's original copyright, obtained by the Clayton F. Summy Co. from the song's writers and bought for $15 million in 1988 by Warner/Chappell Music Inc., covered only specific piano arrangements of the song, not its lyrics.\u003c/p>\n\u003cp>The basic \"Happy Birthday\" melody, derived from another popular children's song, \"Good Morning to All,\" has long been in the public domain, and King's decision, though it could be appealed, makes the entirety fair game for use.\u003c/p>\n\u003cp>\" 'Happy Birthday' is finally free after 80 years,\" Randall Newman, one of the plaintiffs' attorneys, told the Los Angeles Times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the co-plaintiffs, \u003ca href=\"https://www.facebook.com/rupamarya\" target=\"_blank\">Rupa Marya\u003c/a> of the San Francisco-based group \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\">Rupa and The April Fishes\u003c/a>, also praised the decision as momentous, saying, \"I hope we can start reimagining copyright law to do what it's supposed to do -- protect the creations of people who make stuff so that we can continue to make more stuff.\"\u003c/p>\n\u003cp>Marya said she had paid Warner/Chappell $455 to include the song on a live album during which members of her band and the audience sang the song to her the night before her birthday.\u003c/p>\n\u003cp>Warner/Chappell has said it doesn't try to collect royalties from just anyone singing the song but those who use it in a commercial enterprise.\u003c/p>\n\u003cp>\"We are looking at the court's lengthy opinion and considering our options,\" Warner/Chappell said in a statement following Tuesday's ruling.\u003c/p>\n\u003cp>King's decision comes in a lawsuit filed two years ago by Good Morning To You Productions Corp., which is working on a documentary film tentatively titled \"Happy Birthday.\" The company challenged the copyright, arguing that the song should be \"dedicated to public use and in the public domain.\"\u003c/p>\n\u003cp>\"Because Summy Co. never acquired the rights to the 'Happy Birthday' lyrics, defendants, as Summy Co.'s purported successors-in-interest, do not own a valid copyright in the Happy Birthday lyrics,\" King concluded in his 43-page ruling.\u003c/p>\n\u003cp>The lawsuit also asked for monetary damages and restitution of more than $5 million in licensing fees it said in 2013 that Warner/Chappell had collected from thousands of people and groups who have paid to use the song over the years.\u003c/p>\n\u003cp>Marshall Lamm, a spokesman for one of the plaintiffs' lawyers, said that issue would be determined later.\u003c/p>\n\u003cp>In his ruling, King went into great detail about the history of \"Happy Birthday To You,\" and its derivation from \"Good Morning to All.\"\u003c/p>\n\u003cp>That song was written by sisters Mildred Hill and Patty Hill sometime before 1893, the judge said, adding that the sisters assigned the rights to it and other songs to Clayton F. Summy, who copyrighted and published them in a book titled \"Song Stories for the Kindergarten.\"\u003c/p>\n\u003cp>\"The origins of the lyrics to Happy Birthday ... are less clear,\" the judge continued, adding the first known reference to them appeared in a 1901 article in the Inland Educator and Indiana School Journal.\u003c/p>\n\u003cp>The full lyrics themselves, King said, didn't appear in print until 1911.\u003c/p>\n\u003cp>Since then, they have become the most famous lyrics in the English language, according to Guinness World Records. The song is also sung in countless other languages around the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Andrew Dalton contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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