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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Wayne Shorter Quartet\u003c/h2>\n\u003cdiv class=\"event-desc\">Legendary saxophonist and composer appears four nights with quartet.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 15–18\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ, Miner Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>With all of the sudden twists, vertiginous swoops, and conceptual leaps to seemingly unrelated themes that eventually circle back to his initial notion, a conversation with \u003ca href=\"http://www.wayneshorter.com\" target=\"_blank\" rel=\"noopener\">Wayne Shorter\u003c/a> can feel a lot like one of his saxophone solos. Over the past 20 years I’ve interviewed him more than half a dozen times, and the experience is always a little disorienting as I trot behind him and try to keep up with his playful and disarmingly ingenuous turns of phrase.\u003c/p>\n\u003cp>A musical and intellectual explorer, the 82-year-old Shorter is far more than one of America’s greatest living composers. He’s an improviser working at the outer limits of group communication in a volatile quartet that often turns his classic, era-defining compositions into barely recognizable sonic fragments. Featuring Panamanian-born pianist \u003ca href=\"http://www.daniloperez.com\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a>, East Bay-raised bassist \u003ca href=\"http://www.johnpatitucci.com\" target=\"_blank\" rel=\"noopener\">John Patitucci\u003c/a> and Louisiana drummer \u003ca href=\"http://www.brianblade.com\" target=\"_blank\" rel=\"noopener\">Brian Blade\u003c/a>, the band opens a four-night run at the \u003ca href=\"http://www.sfjazz.org/events/2015-16/1015/wayne-shorter\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> on Oct. 15.\u003c/p>\n\u003cp>A creative force ever since joining drummer Art Blakey’s \u003ca href=\"https://www.youtube.com/watch?v=QDFP-YMubDc\" target=\"_blank\" rel=\"noopener\">Jazz Messengers\u003c/a> in 1959, Shorter has exponentially expanded jazz’s frontiers from deep within the tradition. He’s a sci-fi buff who often hangs out with scientists, and a famous cinephile who has spoken about the formative impact of seeing \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Red_Shoes_(1948_film)\" target=\"_blank\" rel=\"noopener\">The Red Shoes\u003c/a>\u003c/em>, Michael Powell’s classic 1948 film about a young ballerina’s sacrifices for her art. So it’s not surprising when he reframes my question about the quartet’s new music to explorer much larger, elemental ideas.\u003c/p>\n\u003cp>“My thing is not so much about sound and technique,” Shorter says, speaking by phone from his home in Los Angeles. “It’s what is music for? It doesn’t sooth the savage beast. People go to war beating drums. Like the two astronauts said as they got further and further way from Earth and see that blue dot, can you imagine fighting over a parking space?”\u003c/p>\n\u003cp>After the recent death of \u003ca href=\"http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Shorter and\u003ca href=\"http://sonnyrollins.com\" target=\"_blank\" rel=\"noopener\"> Sonny Rollins\u003c/a> remain the last two titans on the scene who transformed jazz in the 1950s and 60s (the seemingly indestructible drummer \u003ca href=\"https://en.wikipedia.org/wiki/Roy_Haynes\" target=\"_blank\" rel=\"noopener\">Roy Haynes\u003c/a> started shaking things up in the 1940s). And while Shorter isn’t deeply associated with the rhythmic, structural and harmonic freedom ushered in by Coleman, and expanded upon by \u003ca href=\"http://www.johncoltrane.com\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Ayler\" target=\"_blank\" rel=\"noopener\">Albert Ayler\u003c/a>, I couldn’t resist asking him whether he’d happened to catch Coleman’s epochal 1959 engagement at the Five Spot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t see him at the Five Spot, but it was a welcoming thing for me to hear Ornette, Trane, and Albert Ayler,” Shorter says. “The bands we were playing in, the Jazz Messengers, in a solo or a jam session we would put some of what we thought they were doing in a solo, but it was never recorded. Lee Morgan would say ‘Damn! We should have recorded that!’ In the studio we wondered if anything new from 1960-62 would be picked up 20 to 40 years from then.”\u003c/p>\n\u003cp>The answer to that question is a resounding yes. Shorter’s albums for Blue Note and the pioneering 1970s fusion band Weather Report, which he co-founded with Austrian-born pianist/keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Joe_Zawinul\" target=\"_blank\" rel=\"noopener\">Joe Zawinul\u003c/a>, continue to exert a profound influence on musicians around the world. But in the 1990s, Shorter was celebrated mostly for his past accomplishments — until he assembled his acoustic quartet with Blade, Pérez and Patitucci in 2000, a vehicle for radically reinventing his jazz standards like “Footprints,” “Orbits,” “JuJu” and “Sanctuary.”\u003c/p>\n\u003cp>The band has developed a group approach in which the players don’t so much solo as ease to the foreground. Shorter’s saxophone playing is more unpredictable than ever as his lines unfurl at an unhurried pace, pausing and then stutter-stepping ahead, only to twist in an unexpected direction. It’s as if this most elusive of jazz giants has decided to delve even more deeply into the mysterious places that produced his greatest work.\u003c/p>\n\u003cp>“Wayne’s thing is that he wants to hear the struggle, he wants everybody searching for it,” Patitucci told me in an interview several years ago. “Wayne says, ‘I don’t want you to play safe. Ever.’ He’s always been a big influence compositionally on me. But it’s tricky because you’re playing these amazing compositions, and then you go back and start writing some of your own music, and at first it felt like everything I came up with was trivial. I have all these Wayne melodies dancing around in my head.”\u003c/p>\n\u003cp>Each musician in the quartet is the center of his own bustling creative world. Patitucci recently released a gorgeous album, \u003cem>Brooklyn\u003c/em>, featuring his Electric Guitar Quartet with Blade. Blade leads the gospel-steeped Fellowship Band, and has emerged in recent years as a startlingly soulful singer/songwriter with his Mama Rose project. And Pérez, who runs the activism-oriented Berklee College of Music\u003ca href=\"https://www.berklee.edu/focused/global-jazz\" target=\"_blank\" rel=\"noopener\"> Global Jazz Institute\u003c/a>, founded the Panama Jazz Festival, which brings impoverished young musicians into contact with top-flight jazz players. The three musicians also recently released \u003cem>Children of the Light\u003c/em>, a consistently enthralling trio session dedicated to Shorter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shorter continues to ponder the big questions, knowing that seeking answers is more important than finding them, on and off the bandstand. “I think eternity is good thing to contemplate,” he says. “Life is so mysterious. We shouldn’t lock ourselves into what we’re doing in life as if we’re so sure of the dimensions of a certain kind of box we live in. You’ve got to get out of the box, and the sphere too.”\u003c/p>\n\n",
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"excerpt": "A musical and intellectual explorer, the 82-year-old saxophonist Wayne Shorter is one of America’s greatest living composers, working at the outer limits of group communication in his volatile quartet.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Wayne Shorter Quartet\u003c/h2>\n\u003cdiv class=\"event-desc\">Legendary saxophonist and composer appears four nights with quartet.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 15–18\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ, Miner Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wayne-shorter-quartet/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>With all of the sudden twists, vertiginous swoops, and conceptual leaps to seemingly unrelated themes that eventually circle back to his initial notion, a conversation with \u003ca href=\"http://www.wayneshorter.com\" target=\"_blank\" rel=\"noopener\">Wayne Shorter\u003c/a> can feel a lot like one of his saxophone solos. Over the past 20 years I’ve interviewed him more than half a dozen times, and the experience is always a little disorienting as I trot behind him and try to keep up with his playful and disarmingly ingenuous turns of phrase.\u003c/p>\n\u003cp>A musical and intellectual explorer, the 82-year-old Shorter is far more than one of America’s greatest living composers. He’s an improviser working at the outer limits of group communication in a volatile quartet that often turns his classic, era-defining compositions into barely recognizable sonic fragments. Featuring Panamanian-born pianist \u003ca href=\"http://www.daniloperez.com\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a>, East Bay-raised bassist \u003ca href=\"http://www.johnpatitucci.com\" target=\"_blank\" rel=\"noopener\">John Patitucci\u003c/a> and Louisiana drummer \u003ca href=\"http://www.brianblade.com\" target=\"_blank\" rel=\"noopener\">Brian Blade\u003c/a>, the band opens a four-night run at the \u003ca href=\"http://www.sfjazz.org/events/2015-16/1015/wayne-shorter\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> on Oct. 15.\u003c/p>\n\u003cp>A creative force ever since joining drummer Art Blakey’s \u003ca href=\"https://www.youtube.com/watch?v=QDFP-YMubDc\" target=\"_blank\" rel=\"noopener\">Jazz Messengers\u003c/a> in 1959, Shorter has exponentially expanded jazz’s frontiers from deep within the tradition. He’s a sci-fi buff who often hangs out with scientists, and a famous cinephile who has spoken about the formative impact of seeing \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Red_Shoes_(1948_film)\" target=\"_blank\" rel=\"noopener\">The Red Shoes\u003c/a>\u003c/em>, Michael Powell’s classic 1948 film about a young ballerina’s sacrifices for her art. So it’s not surprising when he reframes my question about the quartet’s new music to explorer much larger, elemental ideas.\u003c/p>\n\u003cp>“My thing is not so much about sound and technique,” Shorter says, speaking by phone from his home in Los Angeles. “It’s what is music for? It doesn’t sooth the savage beast. People go to war beating drums. Like the two astronauts said as they got further and further way from Earth and see that blue dot, can you imagine fighting over a parking space?”\u003c/p>\n\u003cp>After the recent death of \u003ca href=\"http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Shorter and\u003ca href=\"http://sonnyrollins.com\" target=\"_blank\" rel=\"noopener\"> Sonny Rollins\u003c/a> remain the last two titans on the scene who transformed jazz in the 1950s and 60s (the seemingly indestructible drummer \u003ca href=\"https://en.wikipedia.org/wiki/Roy_Haynes\" target=\"_blank\" rel=\"noopener\">Roy Haynes\u003c/a> started shaking things up in the 1940s). And while Shorter isn’t deeply associated with the rhythmic, structural and harmonic freedom ushered in by Coleman, and expanded upon by \u003ca href=\"http://www.johncoltrane.com\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Ayler\" target=\"_blank\" rel=\"noopener\">Albert Ayler\u003c/a>, I couldn’t resist asking him whether he’d happened to catch Coleman’s epochal 1959 engagement at the Five Spot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t see him at the Five Spot, but it was a welcoming thing for me to hear Ornette, Trane, and Albert Ayler,” Shorter says. “The bands we were playing in, the Jazz Messengers, in a solo or a jam session we would put some of what we thought they were doing in a solo, but it was never recorded. Lee Morgan would say ‘Damn! We should have recorded that!’ In the studio we wondered if anything new from 1960-62 would be picked up 20 to 40 years from then.”\u003c/p>\n\u003cp>The answer to that question is a resounding yes. Shorter’s albums for Blue Note and the pioneering 1970s fusion band Weather Report, which he co-founded with Austrian-born pianist/keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Joe_Zawinul\" target=\"_blank\" rel=\"noopener\">Joe Zawinul\u003c/a>, continue to exert a profound influence on musicians around the world. But in the 1990s, Shorter was celebrated mostly for his past accomplishments — until he assembled his acoustic quartet with Blade, Pérez and Patitucci in 2000, a vehicle for radically reinventing his jazz standards like “Footprints,” “Orbits,” “JuJu” and “Sanctuary.”\u003c/p>\n\u003cp>The band has developed a group approach in which the players don’t so much solo as ease to the foreground. Shorter’s saxophone playing is more unpredictable than ever as his lines unfurl at an unhurried pace, pausing and then stutter-stepping ahead, only to twist in an unexpected direction. It’s as if this most elusive of jazz giants has decided to delve even more deeply into the mysterious places that produced his greatest work.\u003c/p>\n\u003cp>“Wayne’s thing is that he wants to hear the struggle, he wants everybody searching for it,” Patitucci told me in an interview several years ago. “Wayne says, ‘I don’t want you to play safe. Ever.’ He’s always been a big influence compositionally on me. But it’s tricky because you’re playing these amazing compositions, and then you go back and start writing some of your own music, and at first it felt like everything I came up with was trivial. I have all these Wayne melodies dancing around in my head.”\u003c/p>\n\u003cp>Each musician in the quartet is the center of his own bustling creative world. Patitucci recently released a gorgeous album, \u003cem>Brooklyn\u003c/em>, featuring his Electric Guitar Quartet with Blade. Blade leads the gospel-steeped Fellowship Band, and has emerged in recent years as a startlingly soulful singer/songwriter with his Mama Rose project. And Pérez, who runs the activism-oriented Berklee College of Music\u003ca href=\"https://www.berklee.edu/focused/global-jazz\" target=\"_blank\" rel=\"noopener\"> Global Jazz Institute\u003c/a>, founded the Panama Jazz Festival, which brings impoverished young musicians into contact with top-flight jazz players. The three musicians also recently released \u003cem>Children of the Light\u003c/em>, a consistently enthralling trio session dedicated to Shorter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shorter continues to ponder the big questions, knowing that seeking answers is more important than finding them, on and off the bandstand. “I think eternity is good thing to contemplate,” he says. “Life is so mysterious. We shouldn’t lock ourselves into what we’re doing in life as if we’re so sure of the dimensions of a certain kind of box we live in. You’ve got to get out of the box, and the sphere too.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-its-like-to-see-president-obama-open-for-kanye-west",
"title": "What It's Like to See President Obama Open for Kanye West",
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"content": "\u003cp>\u003cstrong>I.\u003c/strong>\u003c/p>\n\u003cp>Her name is Karen Islas, and she is the first person in a long line that snakes around the block. She’s in her early 20s, lives in San Francisco, and is clutching a ticket to get inside the Warfield Theater. Unfazed by the wait, she talks in excited tones as a bomb squad truck drives slowly down Market Street. “We got here around 5:30 this morning,” she tells me. \u003c/p>\n\u003cp>There’s no name on the marquee above us, but there doesn’t need to be. Everyone knows that President Obama is due to speak. What’s more, he’s a “special guest” of a conspicuously strange bedfellow: the popular hip-hop artist Kanye West. Tickets to the fundraiser for the Democratic Hope Fund have set attendees back anywhere from $250 to $10,000, with a special $100 rate for students.\u003c/p>\n\u003cfigure id=\"attachment_11006849\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-11006849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>At a table on the sidewalk, friendly volunteers distribute will-call tickets next to a host of not-so-friendly Secret Service agents. Attendees arrive asking questions about bags, cameras, and seating, dressed in attire ranging from T-shirts and cutoffs to formal dresses and three-piece suits. A nearby news anchor reapplies face powder while telling her cameraman to avoid getting the Crazy Horse strip club in the shot. \u003c/p>\n\u003cp>I walk to the end of the line on Turk St., noting the overwhelmingly millennial crowd. I think of a text last night from my baby-boomer dad, joking that “I’d probably pay $250 to see Obama. But I might also pay another $250 to NOT see Kanye.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>II.\u003c/strong>\u003c/p>\n\u003cp>When I’d told friends I was seeing Obama and Kanye together, the consistent reaction was disbelief. Obama may be our \u003ca href=\"http://www.bohemian.com/northbay/hip-hop-president/Content?oid=2173004\" target=\"_blank\" rel=\"noopener\">first hip-hop president\u003c/a>, but he’s also the president who \u003ca href=\"https://www.youtube.com/watch?v=078BGtKNL1o\" target=\"_blank\" rel=\"noopener\">once called Kanye a “jackass.”\u003c/a> The two may both hail from Chicago’s South Side, but Obama definitely found his stride decades ago, while Kanye’s magnetism owes, at least partially, to the unpredictability of his every step.\u003c/p>\n\u003cfigure id=\"attachment_11006850\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>But let’s face it, this pairing is weird because of a basic reality: that the typical left-leaning, well-off, Prius-driving Obama-bumper-sticker Democrat, the type usually courted by political fundraisers, despises Kanye West. And they’re not here. The Democratic National Committee apparently banked on the hope that Kanye would attract younger voters to the event, and from the average age of the crowd, it’s worked.\u003c/p>\n\u003cp>I take my place in line and wonder how many other cities have a millennial population both willing and able to shell out $250 for an Obama-Kanye lineup. I get to talking to the girl in front of me in line, a Kanye fan, and it turns out she just moved to Cupertino one month ago to take a high-paying job at Apple. Bingo.\u003c/p>\n\u003cp>\u003cstrong>III.\u003c/strong>\u003c/p>\n\u003cp>After a bag check and metal detectors and pat-down, we’re in. The floor is reserved for the big donors ($5,000 for a photo with Obama; $10,000 for a reception), but the general-admission balcony fills up quickly. At one point, Stephen Curry walks in and the place goes bananas.\u003c/p>\n\u003cp>Mostly, we wait.\u003c/p>\n\u003cfigure id=\"attachment_11006853\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>We talk amongst ourselves, strangers getting to know each other over the next two hours. I talk with a young woman from Atlanta, here on an exchange program at Stanford for the semester, about the rappers Future and Young Thug. I talk with a Vallejo native about his challenges in teaching math and science at a community college. I talk with an Apple employee about \u003cem>The Circle\u003c/em>, and about the similarities between Dave Eggers’ novel and her daily life. We all talk about Obama.\u003c/p>\n\u003cp>Onstage, Oakland mayor Libby Schaaf introduces your NBA champions, the Golden State Warriors, and Stephen Curry has to talk loudly to overpower the cheers from the crowd. But that’s nothing compared to the uproar that comes next.\u003c/p>\n\u003cp>“Ladies and gentlemen,” intones the voice over the loudspeaker, “the President of the United States.”\u003c/p>\n\u003cp>\u003cstrong>IV.\u003c/strong>\u003c/p>\n\u003cp>I will now tell you something you already know: Obama is a \u003cem>stellar\u003c/em> public speaker. After the audience mayhem subsides, he cruises right into teasing Kanye for his maybe-serious / probably-not-serious presidential bid, which he \u003ca href=\"https://www.youtube.com/watch?v=u9x92nwGf_M\" target=\"_blank\" rel=\"noopener\">announced at the MTV Video Music Awards Awards while stoned\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11006852\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Obama throws in a subtle dig at the Kardashians by warning Kanye that the presidency means “you’ve got to spend a lot of time dealing with some strange characters who behave like they’re on a reality TV show.” He advises Kanye against airing his \u003ca href=\"https://en.wikipedia.org/wiki/My_Beautiful_Dark_Twisted_Fantasy\" target=\"_blank\" rel=\"noopener\">beautiful dark twisted fantasies\u003c/a>, quipping that “there are a lot of people who have lost their congressional seats saying things like that.”\u003c/p>\n\u003cp>Obama’s third suggestion brings the house down: “Do you really think,” \u003ca href=\"https://www.youtube.com/watch?v=mhFW2dK_sxk\" target=\"_blank\" rel=\"noopener\">the president asks Kanye\u003c/a>, “that this country is going to elect a black guy from the South Side of Chicago with a funny name to be president of the United States?”\u003c/p>\n\u003cp>\u003cstrong>V.\u003c/strong>\u003c/p>\n\u003cp>Experiencing important events in the modern world has become strange. We all feel pressure now to not simply experience them, but to document them. I film Obama for a while, and take some bad photos, until I remember that he is already the most documented man in the country. I put my phone away, and listen.\u003c/p>\n\u003cp>Obama talks about specific issues like marriage equality and climate change. Nine days after the Roseburg, Ore. shooting, he reiterates the need for stricter gun-control laws, garnering sustained applause. But it’s when he veers into broader messages about the democratic process that he really hypnotizes the crowd, ruminating on a responsibility all Americans share to make the country better; to expect the best of our fellow man; to participate, instead of resign oneself to disillusionment. \u003c/p>\n\u003cp>Someone yells from the nosebleeds: “FOUR MORE YEARS!”\u003c/p>\n\u003cfigure id=\"attachment_11006851\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>“Well, that we can’t do because Michelle is not going to let that happen,” Obama jokes, “and the Constitution forbids it. But I will be a citizen again, and I am going to be working alongside you.”\u003c/p>\n\u003cp>Alas, \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener\">no one man should have all that power\u003c/a>.\u003c/p>\n\u003cp>When Obama’s finished with his \u003ca href=\"http://blog.sfgate.com/nov05election/2015/10/10/obama-gives-political-advice-to-kanye-west-at-sf-fundraiser/\" target=\"_blank\" rel=\"noopener\">22-minute speech\u003c/a>, the community college teacher from Vallejo tells me that he’s constantly feeling that he should do more for his students, and that it gets overwhelming. Obama’s comments about gradual change, he tells me, help him remember that he just has to do \u003cem>something\u003c/em> to help every day, and over time it’ll add up. The long game. Pure Obama.\u003c/p>\n\u003cp>\u003cstrong>VI.\u003c/strong>\u003c/p>\n\u003cp>Kanye opens with “Power,” and the Warfield crowd erupts at his modified lyrics:\u003c/p>\n\u003cp>\u003cem>They say I was the next one up in Obama’s nation\u003cbr>\nWell that’s a pretty good way to start a conversation\u003c/em> \u003ca href=\"#foot\">*\u003c/a>\u003c/p>\n\u003cp>I’ve seen Kanye West three times, and I’ve never seen him as restrained and well-mannered as he is in this performance. He’s glossing over or dropping some lyrical obscenities, or else letting the crowd sing them; he’s not screaming lines; he’s not stopping songs halfway through to speak his mind.\u003c/p>\n\u003cfigure id=\"attachment_11006854\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he’s not talking between or during songs at all, which, for Kanye, is definitely unusual. During the bridge to “Runaway,” he doesn’t even serve up his usual \u003ca href=\"https://www.youtube.com/results?search_query=kanye+runaway+rant\" target=\"_blank\" rel=\"noopener\">stream-of-consciousness monologue\u003c/a>. Reports \u003ca href=\"http://jezebel.com/report-kanye-west-allowed-to-perform-not-to-advise-ob-1733504218\" target=\"_blank\" rel=\"noopener\">surfaced before the event\u003c/a> that Kanye had been restricted by the feds from giving the President any advice; I can only wonder if they’ve placed any requirements on the content of Kanye’s show itself.\u003c/p>\n\u003cp>This clean, polite Kanye is oddly fascinating. I think about an \u003ca href=\"https://www.youtube.com/watch?v=f1nzyRdp79A\" target=\"_blank\" rel=\"noopener\">MTV interview with Obama\u003c/a> from 2008, in which he opined that laws banning hip-hop fashions like sagging pants were a “waste of time,” adding, “Having said that, brothers should pull up their pants. You are walking by your mother, your grandmother, your underwear is showing. What’s wrong with that? Come on.”\u003c/p>\n\u003cp>Onstage, Kanye starts singing “Only One,” a sweet ballad to his two-year-old daughter.\u003c/p>\n\u003cp>\u003cem>The jackass has been tamed\u003c/em>, I think to myself. \u003cem>Kanye’s actually pulling up his pants for Obama.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>VII.\u003c/strong>\u003c/p>\n\u003cp>At the end of \u003ca href=\"http://www.setlist.fm/setlist/kanye-west/2015/the-warfield-san-francisco-ca-63f46edf.html\" target=\"_blank\" rel=\"noopener\">his nearly hour-long set\u003c/a>, during “Good Life,” Kanye hops off the stage and parades through the crowd, navigating a torrent of selfies. The lights come up. Flush-faced fans file toward the exit.\u003c/p>\n\u003cfigure id=\"attachment_11006855\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Was this a success, I wonder? Did the Democratic National Committee reel in the coveted millennial vote?\u003c/p>\n\u003cp>On the sidewalk outside, I get my answer talking with a college student who flew down from Eugene, Oregon, an hour away from Roseburg. She’s a Kanye West fan who doesn’t want to give her name, but she says Obama’s comments on gun control hit close to home, and his message resonated about each person doing their part. She hasn’t yet voted in any election, but tells me she plans to in 2016.\u003c/p>\n\u003cp>That about sums it up, doesn’t it?\u003cbr>\n\u003ca name=\"foot\">\u003c/a>\u003cbr>\n \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>* \u003cem>Hat tip to reader Dylan Swift for supplying Kanye’s modified lyrics.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Scenes from Saturday's fundraiser in San Francisco.",
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"title": "What It's Like to See President Obama Open for Kanye West | KQED",
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"headline": "What It's Like to See President Obama Open for Kanye West",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>I.\u003c/strong>\u003c/p>\n\u003cp>Her name is Karen Islas, and she is the first person in a long line that snakes around the block. She’s in her early 20s, lives in San Francisco, and is clutching a ticket to get inside the Warfield Theater. Unfazed by the wait, she talks in excited tones as a bomb squad truck drives slowly down Market Street. “We got here around 5:30 this morning,” she tells me. \u003c/p>\n\u003cp>There’s no name on the marquee above us, but there doesn’t need to be. Everyone knows that President Obama is due to speak. What’s more, he’s a “special guest” of a conspicuously strange bedfellow: the popular hip-hop artist Kanye West. Tickets to the fundraiser for the Democratic Hope Fund have set attendees back anywhere from $250 to $10,000, with a special $100 rate for students.\u003c/p>\n\u003cfigure id=\"attachment_11006849\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-11006849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ticket500.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>At a table on the sidewalk, friendly volunteers distribute will-call tickets next to a host of not-so-friendly Secret Service agents. Attendees arrive asking questions about bags, cameras, and seating, dressed in attire ranging from T-shirts and cutoffs to formal dresses and three-piece suits. A nearby news anchor reapplies face powder while telling her cameraman to avoid getting the Crazy Horse strip club in the shot. \u003c/p>\n\u003cp>I walk to the end of the line on Turk St., noting the overwhelmingly millennial crowd. I think of a text last night from my baby-boomer dad, joking that “I’d probably pay $250 to see Obama. But I might also pay another $250 to NOT see Kanye.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>II.\u003c/strong>\u003c/p>\n\u003cp>When I’d told friends I was seeing Obama and Kanye together, the consistent reaction was disbelief. Obama may be our \u003ca href=\"http://www.bohemian.com/northbay/hip-hop-president/Content?oid=2173004\" target=\"_blank\" rel=\"noopener\">first hip-hop president\u003c/a>, but he’s also the president who \u003ca href=\"https://www.youtube.com/watch?v=078BGtKNL1o\" target=\"_blank\" rel=\"noopener\">once called Kanye a “jackass.”\u003c/a> The two may both hail from Chicago’s South Side, but Obama definitely found his stride decades ago, while Kanye’s magnetism owes, at least partially, to the unpredictability of his every step.\u003c/p>\n\u003cfigure id=\"attachment_11006850\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaLINE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>But let’s face it, this pairing is weird because of a basic reality: that the typical left-leaning, well-off, Prius-driving Obama-bumper-sticker Democrat, the type usually courted by political fundraisers, despises Kanye West. And they’re not here. The Democratic National Committee apparently banked on the hope that Kanye would attract younger voters to the event, and from the average age of the crowd, it’s worked.\u003c/p>\n\u003cp>I take my place in line and wonder how many other cities have a millennial population both willing and able to shell out $250 for an Obama-Kanye lineup. I get to talking to the girl in front of me in line, a Kanye fan, and it turns out she just moved to Cupertino one month ago to take a high-paying job at Apple. Bingo.\u003c/p>\n\u003cp>\u003cstrong>III.\u003c/strong>\u003c/p>\n\u003cp>After a bag check and metal detectors and pat-down, we’re in. The floor is reserved for the big donors ($5,000 for a photo with Obama; $10,000 for a reception), but the general-admission balcony fills up quickly. At one point, Stephen Curry walks in and the place goes bananas.\u003c/p>\n\u003cp>Mostly, we wait.\u003c/p>\n\u003cfigure id=\"attachment_11006853\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaWarriors.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>We talk amongst ourselves, strangers getting to know each other over the next two hours. I talk with a young woman from Atlanta, here on an exchange program at Stanford for the semester, about the rappers Future and Young Thug. I talk with a Vallejo native about his challenges in teaching math and science at a community college. I talk with an Apple employee about \u003cem>The Circle\u003c/em>, and about the similarities between Dave Eggers’ novel and her daily life. We all talk about Obama.\u003c/p>\n\u003cp>Onstage, Oakland mayor Libby Schaaf introduces your NBA champions, the Golden State Warriors, and Stephen Curry has to talk loudly to overpower the cheers from the crowd. But that’s nothing compared to the uproar that comes next.\u003c/p>\n\u003cp>“Ladies and gentlemen,” intones the voice over the loudspeaker, “the President of the United States.”\u003c/p>\n\u003cp>\u003cstrong>IV.\u003c/strong>\u003c/p>\n\u003cp>I will now tell you something you already know: Obama is a \u003cem>stellar\u003c/em> public speaker. After the audience mayhem subsides, he cruises right into teasing Kanye for his maybe-serious / probably-not-serious presidential bid, which he \u003ca href=\"https://www.youtube.com/watch?v=u9x92nwGf_M\" target=\"_blank\" rel=\"noopener\">announced at the MTV Video Music Awards Awards while stoned\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11006852\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaGESTURE.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Obama throws in a subtle dig at the Kardashians by warning Kanye that the presidency means “you’ve got to spend a lot of time dealing with some strange characters who behave like they’re on a reality TV show.” He advises Kanye against airing his \u003ca href=\"https://en.wikipedia.org/wiki/My_Beautiful_Dark_Twisted_Fantasy\" target=\"_blank\" rel=\"noopener\">beautiful dark twisted fantasies\u003c/a>, quipping that “there are a lot of people who have lost their congressional seats saying things like that.”\u003c/p>\n\u003cp>Obama’s third suggestion brings the house down: “Do you really think,” \u003ca href=\"https://www.youtube.com/watch?v=mhFW2dK_sxk\" target=\"_blank\" rel=\"noopener\">the president asks Kanye\u003c/a>, “that this country is going to elect a black guy from the South Side of Chicago with a funny name to be president of the United States?”\u003c/p>\n\u003cp>\u003cstrong>V.\u003c/strong>\u003c/p>\n\u003cp>Experiencing important events in the modern world has become strange. We all feel pressure now to not simply experience them, but to document them. I film Obama for a while, and take some bad photos, until I remember that he is already the most documented man in the country. I put my phone away, and listen.\u003c/p>\n\u003cp>Obama talks about specific issues like marriage equality and climate change. Nine days after the Roseburg, Ore. shooting, he reiterates the need for stricter gun-control laws, garnering sustained applause. But it’s when he veers into broader messages about the democratic process that he really hypnotizes the crowd, ruminating on a responsibility all Americans share to make the country better; to expect the best of our fellow man; to participate, instead of resign oneself to disillusionment. \u003c/p>\n\u003cp>Someone yells from the nosebleeds: “FOUR MORE YEARS!”\u003c/p>\n\u003cfigure id=\"attachment_11006851\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaStrut.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>“Well, that we can’t do because Michelle is not going to let that happen,” Obama jokes, “and the Constitution forbids it. But I will be a citizen again, and I am going to be working alongside you.”\u003c/p>\n\u003cp>Alas, \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener\">no one man should have all that power\u003c/a>.\u003c/p>\n\u003cp>When Obama’s finished with his \u003ca href=\"http://blog.sfgate.com/nov05election/2015/10/10/obama-gives-political-advice-to-kanye-west-at-sf-fundraiser/\" target=\"_blank\" rel=\"noopener\">22-minute speech\u003c/a>, the community college teacher from Vallejo tells me that he’s constantly feeling that he should do more for his students, and that it gets overwhelming. Obama’s comments about gradual change, he tells me, help him remember that he just has to do \u003cem>something\u003c/em> to help every day, and over time it’ll add up. The long game. Pure Obama.\u003c/p>\n\u003cp>\u003cstrong>VI.\u003c/strong>\u003c/p>\n\u003cp>Kanye opens with “Power,” and the Warfield crowd erupts at his modified lyrics:\u003c/p>\n\u003cp>\u003cem>They say I was the next one up in Obama’s nation\u003cbr>\nWell that’s a pretty good way to start a conversation\u003c/em> \u003ca href=\"#foot\">*\u003c/a>\u003c/p>\n\u003cp>I’ve seen Kanye West three times, and I’ve never seen him as restrained and well-mannered as he is in this performance. He’s glossing over or dropping some lyrical obscenities, or else letting the crowd sing them; he’s not screaming lines; he’s not stopping songs halfway through to speak his mind.\u003c/p>\n\u003cfigure id=\"attachment_11006854\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYECHOIR.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he’s not talking between or during songs at all, which, for Kanye, is definitely unusual. During the bridge to “Runaway,” he doesn’t even serve up his usual \u003ca href=\"https://www.youtube.com/results?search_query=kanye+runaway+rant\" target=\"_blank\" rel=\"noopener\">stream-of-consciousness monologue\u003c/a>. Reports \u003ca href=\"http://jezebel.com/report-kanye-west-allowed-to-perform-not-to-advise-ob-1733504218\" target=\"_blank\" rel=\"noopener\">surfaced before the event\u003c/a> that Kanye had been restricted by the feds from giving the President any advice; I can only wonder if they’ve placed any requirements on the content of Kanye’s show itself.\u003c/p>\n\u003cp>This clean, polite Kanye is oddly fascinating. I think about an \u003ca href=\"https://www.youtube.com/watch?v=f1nzyRdp79A\" target=\"_blank\" rel=\"noopener\">MTV interview with Obama\u003c/a> from 2008, in which he opined that laws banning hip-hop fashions like sagging pants were a “waste of time,” adding, “Having said that, brothers should pull up their pants. You are walking by your mother, your grandmother, your underwear is showing. What’s wrong with that? Come on.”\u003c/p>\n\u003cp>Onstage, Kanye starts singing “Only One,” a sweet ballad to his two-year-old daughter.\u003c/p>\n\u003cp>\u003cem>The jackass has been tamed\u003c/em>, I think to myself. \u003cem>Kanye’s actually pulling up his pants for Obama.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>VII.\u003c/strong>\u003c/p>\n\u003cp>At the end of \u003ca href=\"http://www.setlist.fm/setlist/kanye-west/2015/the-warfield-san-francisco-ca-63f46edf.html\" target=\"_blank\" rel=\"noopener\">his nearly hour-long set\u003c/a>, during “Good Life,” Kanye hops off the stage and parades through the crowd, navigating a torrent of selfies. The lights come up. Flush-faced fans file toward the exit.\u003c/p>\n\u003cfigure id=\"attachment_11006855\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg\" alt=\"(Photo: Gabe Meline)\" width=\"400\" height=\"240\" class=\"size-thumbnail wp-image-11006855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ObamaKANYEDOWN.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Was this a success, I wonder? Did the Democratic National Committee reel in the coveted millennial vote?\u003c/p>\n\u003cp>On the sidewalk outside, I get my answer talking with a college student who flew down from Eugene, Oregon, an hour away from Roseburg. She’s a Kanye West fan who doesn’t want to give her name, but she says Obama’s comments on gun control hit close to home, and his message resonated about each person doing their part. She hasn’t yet voted in any election, but tells me she plans to in 2016.\u003c/p>\n\u003cp>That about sums it up, doesn’t it?\u003cbr>\n\u003ca name=\"foot\">\u003c/a>\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>* \u003cem>Hat tip to reader Dylan Swift for supplying Kanye’s modified lyrics.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twenty years ago this week, Oasis released \u003cem>(What's the Story) Morning Glory?, \u003c/em>the band's second studio album --12 tracks, just over 50 minutes of music -- and thereafter, the world was never the same.\u003c/p>\n\u003cp>Well, that's not true. The record did catapult the perpetually cranky alt-Britpoppers from relatively low-key indie act to worldwide critical and commercial success. It sold 347,000 copies in its first week, spent 10 weeks at #1 on the UK Albums Chart, and hit #4 on the Billboard 200. As of 2011, it had sold more than 20 million copies worldwide. It's a very, very good album.\u003c/p>\n\u003cp>But let's be real: the biggest and most lasting impact \u003cem>WTSMG\u003c/em> has had on pop culture was birthing, nurturing and encouraging a neverending supply of doofy 19-year-old dudes who recently learned to play guitar and want to know if maybe you'd like to go back to their room to watch them perform their heartfelt cover of \"Wonderwall.\"\u003c/p>\n\u003cp>I've often fantasized about creating a compilation record, a sort of spinoff from the unstoppable \u003cem>Now That's What I Call Music!\u003c/em> series, called \u003cem>Now That's What I Call Music That One Guy From Your Freshman Dorm Is Always Playing In the Common Area, Taking It Really Seriously With His Eyes Closed and Everything, Trying To Impress a Different Girl Every Time, No Really Dude You Should Learn Another Song\u003c/em>. The album would have 12 tracks that are all just \"Wonderwall.\"\u003c/p>\n\u003cp>It's understandable that this song, in particular, attracted such a specific following. The chord changes are relatively simple, the vocal range not terribly demanding. But the specific sneer in Gallagher's throat coupled with the bittersweet lyrics, the almost cinematic drumming, the interplay between guitar and the swell of the string section -- they're all \u003cem>necessary\u003c/em>, and it's a tougher song to replicate well than you might think.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qj_wpkSn27E\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-9UADfJS8vA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PoLmYxE-eHo\u003c/p>\n\u003cp>This kid seems to think the Ed Sheeran cover was the original?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YWXvXIJAcqE\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tpOqSCsS-z4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZMaG4wy9ies\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wllmWveUmXk\u003c/p>\n\u003cp>Actually, that last guy's cool with me.\u003c/p>\n\u003cp>In any event! \u003cem>(What's the Story) Morning Glory?\u003c/em>, we wish you a hearty, healthy, expletive-filled birthday. Noel Gallagher wouldn't have it any other way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rfNqyjZcleI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/10/20151009tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Now through Feb. 7, 2016: \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">William Wegman: “Artists Including Me.”\u003c/a> \u003c/strong>Now credited with being one \u003cstrong>of the earliest web-based video artists, \u003c/strong>Wegman works also visual and verbal puns into his photos, paintings and drawings, never taking himself too seriously. \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9 – Sunday, Oct. 11: \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">Bread and Puppet Theater\u003c/a>. \u003c/strong>This eccentric, 50-year-old troupe embraces music, puppets and stilt-walkers, pageantry and politics. They perform twice in San Francisco this weekend; \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Patrick Watson\u003c/a>.\u003c/strong> The singer’s new \u003cem>Love Songs For Robots contains \u003c/em>lyrics both dark and whimsical, rock and roll, R&B and a “zest” of folk. \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Sparks and Franz Ferdinand.\u003c/a> \u003c/strong>See what happens when 40-year-old American band Sparks teams up with Scottish indie rockers Franz Ferdinand, after trading songs across the Atlantic. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Litquake Presents Boots Riley\u003c/a>. \u003c/strong>The annual festival of all things literary kicks off Friday, Oct. 9, and there are more events than we could possibly list here. Tonight, the fest hosts one of the Bay Area’s most beloved (and controversial) hip-hop figures, reading his book \u003cem>Tell Homeland Security — We Are the Bomb. \u003c/em>Bonus: Panel featuring W. Kamau Bell. \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Now through Feb. 7, 2016: \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">William Wegman: “Artists Including Me.”\u003c/a> \u003c/strong>Now credited with being one \u003cstrong>of the earliest web-based video artists, \u003c/strong>Wegman works also visual and verbal puns into his photos, paintings and drawings, never taking himself too seriously. \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9 – Sunday, Oct. 11: \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">Bread and Puppet Theater\u003c/a>. \u003c/strong>This eccentric, 50-year-old troupe embraces music, puppets and stilt-walkers, pageantry and politics. They perform twice in San Francisco this weekend; \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Patrick Watson\u003c/a>.\u003c/strong> The singer’s new \u003cem>Love Songs For Robots contains \u003c/em>lyrics both dark and whimsical, rock and roll, R&B and a “zest” of folk. \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Sparks and Franz Ferdinand.\u003c/a> \u003c/strong>See what happens when 40-year-old American band Sparks teams up with Scottish indie rockers Franz Ferdinand, after trading songs across the Atlantic. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Litquake Presents Boots Riley\u003c/a>. \u003c/strong>The annual festival of all things literary kicks off Friday, Oct. 9, and there are more events than we could possibly list here. Tonight, the fest hosts one of the Bay Area’s most beloved (and controversial) hip-hop figures, reading his book \u003cem>Tell Homeland Security — We Are the Bomb. \u003c/em>Bonus: Panel featuring W. Kamau Bell. \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I was talking with a friend recently about how, in this age of perpetual social media connection, it's easy to develop a distorted sense of which issues actually matter to the American populace at large: You tend to be friends with, or follow, people who agree with you on social and political issues, or at the very least share some basic interests. As a lady and a music journalist, I know that my news feeds reflect a higher level of concern about sexism in the entertainment industry than I should probably, realistically, ascribe to Joe the Plumber (or whomever we're using as the personification of the American middle-class during this election cycle).\u003c/p>\n\u003cp>\u003cem>That said:\u003c/em> In the past 48 hours, two different interviews with two very different female musicians, conducted in two different mediums -- \u003ca href=\"http://www.npr.org/2015/10/06/446083413/chrissie-hynde-im-just-telling-my-story\" target=\"_blank\">one with Chrissie Hynde of the Pretenders, on NPR\u003c/a>, and another with \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html\" target=\"_blank\">Nicki Minaj, who graces the cover of this week's \u003cem>New York Times Magazine\u003c/em>\u003c/a> -- have been flying around \"my\" Internet with such ubiquity that it gave me pause.\u003c/p>\n\u003cp>In essence, both interviews include sections where their subjects get annoyed with a question from their interviewer, questions they don't feel they should have to answer, and decide to say as much.\u003c/p>\n\u003cp>In Hynde's case -- after sitting through \u003ca href=\"http://www.edrants.com/in-defense-of-chrissie-hynde-why-npr-needs-to-change-and-why-david-greene-is-a-sexist-fool/\" target=\"_blank\">a line of questioning from NPR's David Greene that's clumsy at best\u003c/a> -- she expresses annoyance at his wanting her to simply repeat anecdotes from her recently published memoir, \u003cem>Reckless.\u003c/em>\u003c/p>\n\u003cp>First, Greene mentions how she was influenced by the Rolling Stones, a non-question that prompts a justifiable \"Is that your question?\" from Hynde, whom Greene notes at the conversation's outset is a notoriously tough interview. (She's also a bonafide, old-school rock star.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I'm not gonna tell you that story because I already wrote it in the book,\" she then says, exasperated, when prompted to repeat the details of a controversial section in which Hynde recalls being assaulted by a group of bikers sometime in her early '20s.\u003c/p>\n\u003cp>She never refers to it as rape, and has \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/10/the-public-shaming-of-chrissie-hynde/409234/\" target=\"_blank\">said some things I vehemently disagree with about women needing to \"take responsibility\" for how they dress and behave in such situations\u003c/a> -- but, for our purposes here, that's beside the point. Greene is asking for the memoir's highlight reel, and in this case the highlights are some intensely personal revelations that Hynde doesn't really feel like reciting.\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html?_r=0\" target=\"_blank\">Minaj interview\u003c/a>, writer Vanessa Grigoriadis notes a number of instances in which the pop star refuses to answer questions.\u003c/p>\n\u003cp>\"I don’t even want to discuss that. That’s so old to me,\" says Minaj with an air of disgust when Grigoriadis asks how the singer was influenced by Lady Gaga's tendency toward costumes as performance art. She brushes off a question about her career's chronology in the early days, when she used to sell tapes out of her car, as \"dumb.\" But the (diamond-covered) gloves really come off when the journalist asks if Minaj might possibly \"thrive\" on drama, like the beef between her boyfriend, Meek Mill, and her label mate, Drake.\u003c/p>\n\u003cp>Every one of the angry words Minaj lobs at Grigoriadis in response -- \"rude,\" \"troublemaker,\" \"Do not speak to me like I’m stupid or beneath you in any way,\" and, lastly, \"I don’t care to speak to you anymore\" -- is arguably deserved, and the writer acknowledges as much, stating that she regretted the question as soon as it passed her lips. I actually really enjoyed this profile, and I think Grigoriadis tried to do right by Minaj. But the feeling the reader is left with, as Grigoriadis slinks away from the pop star's apartment, is one of Minaj being, yes, \"difficult.\"\u003c/p>\n\u003cp>So: Let's talk about this notion of celebrities being \"difficult.\" When a famous person gives an interview, it is usually because they have a new product -- a film, a book, an album -- to promote. And what we are measuring when we discuss how easy or tough of an interview they are, really, is their willingness to play ball: to answer the same questions over and over, to repeat sound bytes, to seem affable while they probably want to slit their throat. This is part of your job when you are a famous person and I don't exactly feel sympathy for most multi-millionaires when they have to sit through a few hackneyed conversations in order to make more millions.\u003c/p>\n\u003cp>And yet. How much of a person, exactly, are we owed in this format? \u003ca href=\"https://www.youtube.com/watch?v=ALBwaO-rAsE\" target=\"_blank\">Robert Downey Jr. famously stormed out of a press junket interview \u003c/a>earlier this year when the reporter veered off-course, asking questions about his past substance abuse; the actor was mostly applauded for it. \u003cspan style=\"font-weight: 400\">Lou Reed was aggressively obnoxious in interviews with such consistency that it became a part of his persona; besides, it felt earned. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how, exactly, did he earn it? \u003c/span>Where are the lines between \"justifiably annoyed\" and \"difficult\" and \"such a badass, you can do whatever you want\"? Do they move depending on what type of performer you are? Your genre? Your gender?\u003c/p>\n\u003cp>Beyoncé's chosen to dodge the question (and the print media) entirely as of late, and in return The \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/08/20/fashion/beyonce-is-seen-but-not-heard.html?_r=0\" target=\"_blank\">ran a story whose entire thesis was that Beyoncé hasn't been giving interviews\u003c/a> lately. Meanwhile, this week's issue of \u003cem>Rolling Stone \u003c/em>promises \u003ca href=\"http://www.rollingstone.com/music/features/keith-richards-on-getting-busted-zeppelin-and-stones-future-20151008\" target=\"_blank\">the most \"revealing\" interview Keith Richards has granted in decades\u003c/a>. That's presented as a gift -- there's no private-life debt, so to speak, that's owed.\u003c/p>\n\u003cp>Yes, there's an argument to be made that Hynde, in particular, was simply being asked to discuss material from the very thing she was on air to sell. But the response to both interviews, and the speed with which many are happy to simply cast both women as unnecessarily angry or contrary, raises questions for me about what we expect -- what we feel we \u003cem>deserve\u003c/em> -- from our famous women, and why.\u003c/p>\n\u003cp>\"The draw of an album made by a woman is not to consume what she’s created, but to traverse a pipeline directly to her being,\" wrote Sasha Geffen in \u003ca href=\"http://thenewinquiry.com/essays/radical-strain/\" target=\"_blank\">an insightful essay for The New Inquiry\u003c/a>, a piece I've revisited many times in the year since it was published. \"She didn’t make the product; she is the product.\"\u003c/p>\n\u003cp>Geffen was writing primarily about music critics' tendency to treat female talent as effortless while men are granted agency, but I think the sentiment crosses art forms. We can all agree that Robert Downey Jr. shouldn't have to discuss personal problems in every interview for the rest of his life. Should Nicki Minaj? Does this contract change when your public persona is purposefully larger than life? How about when you routinely use mediums you control, like Twitter, to share opinions you \u003cem>do\u003c/em> feel should be public --\u003ca href=\"http://www.thedailybeast.com/articles/2015/10/08/nicki-minaj-teaches-miley-cyrus-a-lesson-about-white-privilege.html\" target=\"_blank\"> like comments on racism in your industry?\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I'll leave you with this: A study released last month by researchers at Arizona State University and the University of Illinois that most likely surprised some men and exactly zero women showed that \u003ca href=\"http://www.psmag.com/politics-and-law/anger-reduces-womens-ability-to-influence-others\" target=\"_blank\">women who express anger lose respect from their peers\u003c/a>, while men actually gain it. \u003c/span>\u003c/p>\n\u003cp>I'd be interested to hear what Hynde and Minaj would have to say about those findings. Journalists interviewing female celebrities, there's a free question for ya! Hope the answers aren't too difficult.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was talking with a friend recently about how, in this age of perpetual social media connection, it's easy to develop a distorted sense of which issues actually matter to the American populace at large: You tend to be friends with, or follow, people who agree with you on social and political issues, or at the very least share some basic interests. As a lady and a music journalist, I know that my news feeds reflect a higher level of concern about sexism in the entertainment industry than I should probably, realistically, ascribe to Joe the Plumber (or whomever we're using as the personification of the American middle-class during this election cycle).\u003c/p>\n\u003cp>\u003cem>That said:\u003c/em> In the past 48 hours, two different interviews with two very different female musicians, conducted in two different mediums -- \u003ca href=\"http://www.npr.org/2015/10/06/446083413/chrissie-hynde-im-just-telling-my-story\" target=\"_blank\">one with Chrissie Hynde of the Pretenders, on NPR\u003c/a>, and another with \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html\" target=\"_blank\">Nicki Minaj, who graces the cover of this week's \u003cem>New York Times Magazine\u003c/em>\u003c/a> -- have been flying around \"my\" Internet with such ubiquity that it gave me pause.\u003c/p>\n\u003cp>In essence, both interviews include sections where their subjects get annoyed with a question from their interviewer, questions they don't feel they should have to answer, and decide to say as much.\u003c/p>\n\u003cp>In Hynde's case -- after sitting through \u003ca href=\"http://www.edrants.com/in-defense-of-chrissie-hynde-why-npr-needs-to-change-and-why-david-greene-is-a-sexist-fool/\" target=\"_blank\">a line of questioning from NPR's David Greene that's clumsy at best\u003c/a> -- she expresses annoyance at his wanting her to simply repeat anecdotes from her recently published memoir, \u003cem>Reckless.\u003c/em>\u003c/p>\n\u003cp>First, Greene mentions how she was influenced by the Rolling Stones, a non-question that prompts a justifiable \"Is that your question?\" from Hynde, whom Greene notes at the conversation's outset is a notoriously tough interview. (She's also a bonafide, old-school rock star.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I'm not gonna tell you that story because I already wrote it in the book,\" she then says, exasperated, when prompted to repeat the details of a controversial section in which Hynde recalls being assaulted by a group of bikers sometime in her early '20s.\u003c/p>\n\u003cp>She never refers to it as rape, and has \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/10/the-public-shaming-of-chrissie-hynde/409234/\" target=\"_blank\">said some things I vehemently disagree with about women needing to \"take responsibility\" for how they dress and behave in such situations\u003c/a> -- but, for our purposes here, that's beside the point. Greene is asking for the memoir's highlight reel, and in this case the highlights are some intensely personal revelations that Hynde doesn't really feel like reciting.\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.nytimes.com/2015/10/11/magazine/the-passion-of-nicki-minaj.html?_r=0\" target=\"_blank\">Minaj interview\u003c/a>, writer Vanessa Grigoriadis notes a number of instances in which the pop star refuses to answer questions.\u003c/p>\n\u003cp>\"I don’t even want to discuss that. That’s so old to me,\" says Minaj with an air of disgust when Grigoriadis asks how the singer was influenced by Lady Gaga's tendency toward costumes as performance art. She brushes off a question about her career's chronology in the early days, when she used to sell tapes out of her car, as \"dumb.\" But the (diamond-covered) gloves really come off when the journalist asks if Minaj might possibly \"thrive\" on drama, like the beef between her boyfriend, Meek Mill, and her label mate, Drake.\u003c/p>\n\u003cp>Every one of the angry words Minaj lobs at Grigoriadis in response -- \"rude,\" \"troublemaker,\" \"Do not speak to me like I’m stupid or beneath you in any way,\" and, lastly, \"I don’t care to speak to you anymore\" -- is arguably deserved, and the writer acknowledges as much, stating that she regretted the question as soon as it passed her lips. I actually really enjoyed this profile, and I think Grigoriadis tried to do right by Minaj. But the feeling the reader is left with, as Grigoriadis slinks away from the pop star's apartment, is one of Minaj being, yes, \"difficult.\"\u003c/p>\n\u003cp>So: Let's talk about this notion of celebrities being \"difficult.\" When a famous person gives an interview, it is usually because they have a new product -- a film, a book, an album -- to promote. And what we are measuring when we discuss how easy or tough of an interview they are, really, is their willingness to play ball: to answer the same questions over and over, to repeat sound bytes, to seem affable while they probably want to slit their throat. This is part of your job when you are a famous person and I don't exactly feel sympathy for most multi-millionaires when they have to sit through a few hackneyed conversations in order to make more millions.\u003c/p>\n\u003cp>And yet. How much of a person, exactly, are we owed in this format? \u003ca href=\"https://www.youtube.com/watch?v=ALBwaO-rAsE\" target=\"_blank\">Robert Downey Jr. famously stormed out of a press junket interview \u003c/a>earlier this year when the reporter veered off-course, asking questions about his past substance abuse; the actor was mostly applauded for it. \u003cspan style=\"font-weight: 400\">Lou Reed was aggressively obnoxious in interviews with such consistency that it became a part of his persona; besides, it felt earned. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how, exactly, did he earn it? \u003c/span>Where are the lines between \"justifiably annoyed\" and \"difficult\" and \"such a badass, you can do whatever you want\"? Do they move depending on what type of performer you are? Your genre? Your gender?\u003c/p>\n\u003cp>Beyoncé's chosen to dodge the question (and the print media) entirely as of late, and in return The \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/08/20/fashion/beyonce-is-seen-but-not-heard.html?_r=0\" target=\"_blank\">ran a story whose entire thesis was that Beyoncé hasn't been giving interviews\u003c/a> lately. Meanwhile, this week's issue of \u003cem>Rolling Stone \u003c/em>promises \u003ca href=\"http://www.rollingstone.com/music/features/keith-richards-on-getting-busted-zeppelin-and-stones-future-20151008\" target=\"_blank\">the most \"revealing\" interview Keith Richards has granted in decades\u003c/a>. That's presented as a gift -- there's no private-life debt, so to speak, that's owed.\u003c/p>\n\u003cp>Yes, there's an argument to be made that Hynde, in particular, was simply being asked to discuss material from the very thing she was on air to sell. But the response to both interviews, and the speed with which many are happy to simply cast both women as unnecessarily angry or contrary, raises questions for me about what we expect -- what we feel we \u003cem>deserve\u003c/em> -- from our famous women, and why.\u003c/p>\n\u003cp>\"The draw of an album made by a woman is not to consume what she’s created, but to traverse a pipeline directly to her being,\" wrote Sasha Geffen in \u003ca href=\"http://thenewinquiry.com/essays/radical-strain/\" target=\"_blank\">an insightful essay for The New Inquiry\u003c/a>, a piece I've revisited many times in the year since it was published. \"She didn’t make the product; she is the product.\"\u003c/p>\n\u003cp>Geffen was writing primarily about music critics' tendency to treat female talent as effortless while men are granted agency, but I think the sentiment crosses art forms. We can all agree that Robert Downey Jr. shouldn't have to discuss personal problems in every interview for the rest of his life. Should Nicki Minaj? Does this contract change when your public persona is purposefully larger than life? How about when you routinely use mediums you control, like Twitter, to share opinions you \u003cem>do\u003c/em> feel should be public --\u003ca href=\"http://www.thedailybeast.com/articles/2015/10/08/nicki-minaj-teaches-miley-cyrus-a-lesson-about-white-privilege.html\" target=\"_blank\"> like comments on racism in your industry?\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I'll leave you with this: A study released last month by researchers at Arizona State University and the University of Illinois that most likely surprised some men and exactly zero women showed that \u003ca href=\"http://www.psmag.com/politics-and-law/anger-reduces-womens-ability-to-influence-others\" target=\"_blank\">women who express anger lose respect from their peers\u003c/a>, while men actually gain it. \u003c/span>\u003c/p>\n\u003cp>I'd be interested to hear what Hynde and Minaj would have to say about those findings. Journalists interviewing female celebrities, there's a free question for ya! Hope the answers aren't too difficult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIPaPiArbLI\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XKSQmYUaIyE\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZIPaPiArbLI'\n title='//www.youtube.com/embed/ZIPaPiArbLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XKSQmYUaIyE'\n title='//www.youtube.com/embed/XKSQmYUaIyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Beach House Teases Surprise Album, Mere Weeks After Their Last LP",
"title": "Beach House Teases Surprise Album, Mere Weeks After Their Last LP",
"headTitle": "KQED Pop | KQED Arts",
"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>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": "\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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"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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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