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"title": "Outside Lands Review: Sunday’s Music Highlights and Photo Gallery",
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"content": "\u003cp>Sunday in Golden Gate Park felt like a gentle hangover from Friday and Saturday’s mayhem. Where was everybody? Maybe home in bed, because the fields were very, very sparse. For those who attended, it was a relaxing, cool-down day.\u003c/p>\n\u003cp>Check our Outside Lands recaps from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read more for Sunday’s highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo slideshow.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10890847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg\" alt=\"Elton John performing at Outside Lands on Sunday.\" width=\"640\" height=\"427\" class=\"size-large wp-image-10890847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elton John performs at Outside Lands on Aug. 9, 2015. (Photo: Wendy Goodfriend/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Elton John\u003c/h3>\n\u003cp>Elton John is an artist with a deep, deep catalog of hits, and nearly every song he started Sunday night garnered a knowing cheer from the crowd. Even if you don’t think you know his stuff, you do. Outside Lands has booked these big “legacy” headliners in the past few years — Paul McCartney, Stevie Wonder, Tom Petty — and it’s a good move, especially on closing night, and especially with someone who can get a giant field singing along to “Honky Cat,” “Benny and the Jets,” “Candle in the Wind” and so, so many others; you already essentially know the setlist and so does the rest of the world. Case in point would be the person standing next to me on Sunday, a graffiti artist who listens to rap music and has neck tattoos, and who surprised me throughout the set with lyrical prowess and obscure trivia about Elton John. He even sang harmonies on “Tiny Dancer”! Elton John is \u003cem>that\u003c/em> universal. (Also: shout out to the fan who brought a Buzz Lightyear Mylar balloon and \u003ca href=\"https://vine.co/v/ew33VODTtlL\" target=\"_blank\" rel=\"noopener\">released it into the sky during “Rocket Man.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10888736\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Sexual Chocolate\u003c/h3>\n\u003cp>In the late ’80s, saxophonist Karl Denson appeared in Eddie Murphy’s classic comedy \u003cem>Coming to America\u003c/em> as a member of a \u003ca href=\"https://www.youtube.com/watch?v=KzANAr1V82c\" target=\"_blank\" rel=\"noopener\">hilarious fictional band called Sexual Chocolate\u003c/a>. Denson’s been asked about it from fans and interviewers, over and over, for years, never living it down. So what did he do Sunday? Assembled a band clad in powder-blue tuxedos and performed as Sexual Chocolate, that’s what. While Donald Wressell from Guittard Chocolate crafted a semi-phallic sculpture to the side of the stage, lead vocalist Ziek McCarter — fresh from a gig with his band Con Brio at Stern Grove, just hours before — crooned Whitney Houston’s “Greatest Love of All,” Smokey Robinson’s “Ooh Baby Baby,” and even the over-the-top theme to the \u003ca href=\"https://www.youtube.com/watch?v=CGrasobHcKA\" target=\"_blank\" rel=\"noopener\">Soul Glo commercial\u003c/a> featured in the movie. McCarter actually hit those high notes! The whole thing was nuts.\u003c/p>\n\u003cfigure id=\"attachment_10888721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Dan Deacon\u003c/h3>\n\u003cp>Dan Deacon began his set by announcing he did mushrooms the night before, telling everyone to raise a hand to the sky, and then to imagine forcing out all their inhibitions. If you weren’t on board with this plan, he said, “the \u003ca href=\"https://www.youtube.com/watch?v=pB-5XG-DbAA\" target=\"_blank\" rel=\"noopener\">guy that steals songs from Tom Petty\u003c/a> is playing in the next field over.” Deacon’s a perfect festival act who utilizes the crowd sometimes for gigantic organized dance parties — as he did Sunday — and sometimes for licking lollipops triggered to samples on his laptop, as he did Saturday. If you want to overthink the man, he manages to tie together the conceptualism of John Cage and the spastic electronics of Squarepusher to create a wholly life-affirming experience. If you want to dance your ass off, well, he’s there for you, too. \u003ca href=\"https://instagram.com/p/6L0CXCSSRC/\" target=\"_blank\" rel=\"noopener\">Watch his crowd go from zero to lit in 10 seconds flat here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10888734,10888737,10888729,10888727,10888736,10888720,10888719,10888728,10888731,10888721,10888722,10888723,10888724,10888725,10888726,10888730,10888732,10888718,10888733,10888735\"]\u003c/p>\n\n",
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"excerpt": "Elton John closed out a sparse Sunday in Golden Gate Park, with Dan Deacon's dance party and the resurrection of Sexual Chocolate as added features.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday in Golden Gate Park felt like a gentle hangover from Friday and Saturday’s mayhem. Where was everybody? Maybe home in bed, because the fields were very, very sparse. For those who attended, it was a relaxing, cool-down day.\u003c/p>\n\u003cp>Check our Outside Lands recaps from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and from \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read more for Sunday’s highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo slideshow.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10890847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg\" alt=\"Elton John performing at Outside Lands on Sunday.\" width=\"640\" height=\"427\" class=\"size-large wp-image-10890847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/elton-john-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elton John performs at Outside Lands on Aug. 9, 2015. (Photo: Wendy Goodfriend/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Elton John\u003c/h3>\n\u003cp>Elton John is an artist with a deep, deep catalog of hits, and nearly every song he started Sunday night garnered a knowing cheer from the crowd. Even if you don’t think you know his stuff, you do. Outside Lands has booked these big “legacy” headliners in the past few years — Paul McCartney, Stevie Wonder, Tom Petty — and it’s a good move, especially on closing night, and especially with someone who can get a giant field singing along to “Honky Cat,” “Benny and the Jets,” “Candle in the Wind” and so, so many others; you already essentially know the setlist and so does the rest of the world. Case in point would be the person standing next to me on Sunday, a graffiti artist who listens to rap music and has neck tattoos, and who surprised me throughout the set with lyrical prowess and obscure trivia about Elton John. He even sang harmonies on “Tiny Dancer”! Elton John is \u003cem>that\u003c/em> universal. (Also: shout out to the fan who brought a Buzz Lightyear Mylar balloon and \u003ca href=\"https://vine.co/v/ew33VODTtlL\" target=\"_blank\" rel=\"noopener\">released it into the sky during “Rocket Man.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10888736\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.SexualBand-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Sexual Chocolate\u003c/h3>\n\u003cp>In the late ’80s, saxophonist Karl Denson appeared in Eddie Murphy’s classic comedy \u003cem>Coming to America\u003c/em> as a member of a \u003ca href=\"https://www.youtube.com/watch?v=KzANAr1V82c\" target=\"_blank\" rel=\"noopener\">hilarious fictional band called Sexual Chocolate\u003c/a>. Denson’s been asked about it from fans and interviewers, over and over, for years, never living it down. So what did he do Sunday? Assembled a band clad in powder-blue tuxedos and performed as Sexual Chocolate, that’s what. While Donald Wressell from Guittard Chocolate crafted a semi-phallic sculpture to the side of the stage, lead vocalist Ziek McCarter — fresh from a gig with his band Con Brio at Stern Grove, just hours before — crooned Whitney Houston’s “Greatest Love of All,” Smokey Robinson’s “Ooh Baby Baby,” and even the over-the-top theme to the \u003ca href=\"https://www.youtube.com/watch?v=CGrasobHcKA\" target=\"_blank\" rel=\"noopener\">Soul Glo commercial\u003c/a> featured in the movie. McCarter actually hit those high notes! The whole thing was nuts.\u003c/p>\n\u003cfigure id=\"attachment_10888721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10888721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Deacon1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Dan Deacon\u003c/h3>\n\u003cp>Dan Deacon began his set by announcing he did mushrooms the night before, telling everyone to raise a hand to the sky, and then to imagine forcing out all their inhibitions. If you weren’t on board with this plan, he said, “the \u003ca href=\"https://www.youtube.com/watch?v=pB-5XG-DbAA\" target=\"_blank\" rel=\"noopener\">guy that steals songs from Tom Petty\u003c/a> is playing in the next field over.” Deacon’s a perfect festival act who utilizes the crowd sometimes for gigantic organized dance parties — as he did Sunday — and sometimes for licking lollipops triggered to samples on his laptop, as he did Saturday. If you want to overthink the man, he manages to tie together the conceptualism of John Cage and the spastic electronics of Squarepusher to create a wholly life-affirming experience. If you want to dance your ass off, well, he’s there for you, too. \u003ca href=\"https://instagram.com/p/6L0CXCSSRC/\" target=\"_blank\" rel=\"noopener\">Watch his crowd go from zero to lit in 10 seconds flat here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Joanna Newsom Announces First Album in 5 Years, Unveils 'Sapokanikan' Video",
"title": "Joanna Newsom Announces First Album in 5 Years, Unveils 'Sapokanikan' Video",
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"content": "\u003cp>A lot can change over the course of five years. For me, one thing stayed constant though: an anxious, impatient waiting for another Joanna Newsom album. This tweet of mine pretty much sums up how it's been:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/618460054526627840\u003c/p>\n\u003cp>But today I did not weep upon waking. Instead I did a little of this:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp.gif\">\u003cimg class=\"aligncenter size-full wp-image-7667\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp.gif\" alt=\"titanic old lady\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">and a lot of this:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Fangirls-Freakout.gif\">\u003cimg class=\"aligncenter size-medium wp-image-17542\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Fangirls-Freakout.gif\" alt=\"Fangirls-Freakout\" width=\"300\" height=\"233\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">and some of this:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/dying-dying-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-17543\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/dying-dying-gif.gif\" alt=\"dying-dying-gif\" width=\"500\" height=\"282\">\u003c/a>\u003c/p>\n\u003cp>...because Joanna Newsom has finally announced \u003cem>Divers\u003c/em>, her first album since 2010's\u003cem> Have One on Me\u003c/em>, and unveiled a music video (directed by \u003ca href=\"http://www.imdb.com/name/nm0000759/\" target=\"_blank\">Paul Thomas Anderson\u003c/a>) for first single \"Sapokanikan.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ky9Ro9pP2gc\u003c/p>\n\u003cp>If you want to learn a bunch of new words and scare your friends with them, check out \u003ca href=\"http://genius.com/Joanna-newsom-sapokanikan-lyrics\" target=\"_blank\">the \"Sapokanikan\" lyrics\u003c/a>. Sample line: \"The cause is Ozymandian, the map of Sapokanikan is sanded and bevelled, the land lorn and leveled by some unrecorded and powerful hand.\" Flaunt that perfect SAT verbal score, Joanna!\u003c/p>\n\u003cp>\u003cem>Divers\u003c/em> comes out October 23, 2015.\u003c/p>\n\u003cp>Here's the cover art:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/JoannaNewsomArt.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17544\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/JoannaNewsomArt.jpg\" alt=\"JoannaNewsomArt\" width=\"620\" height=\"620\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt.jpg 620w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-75x75.jpg 75w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>And here's the tracklist:\u003c/p>\n\u003cp>01 Anecdotes\u003cbr>\n02 Sapokanikan\u003cbr>\n03 Leaving the City\u003cbr>\n04 Goose Eggs\u003cbr>\n05 Waltz of the 101st Lightborne\u003cbr>\n06 The Things I Say\u003cbr>\n07 Divers\u003cbr>\n08 Same Old Man\u003cbr>\n09 You Will Not Take My Heart Alive\u003cbr>\n10 A Pin-Light Bent\u003cbr>\n11 Time, As a Symptom\u003c/p>\n\u003cp>If you want to sneak a listen to what is probably the seventh track, here you go:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VuN-4gykysU\u003c/p>\n\u003cp>Or if you just want to celebrate, join me in singing along to this CeCe jam that encompasses everything we're feeling right now:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xk8mm1Qmt-Y\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But today I did not weep upon waking. Instead I did a little of this:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp.gif\">\u003cimg class=\"aligncenter size-full wp-image-7667\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp.gif\" alt=\"titanic old lady\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/08/tumblr_inline_mru6pebj0e1qz4rgp-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">and a lot of this:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Fangirls-Freakout.gif\">\u003cimg class=\"aligncenter size-medium wp-image-17542\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/Fangirls-Freakout.gif\" alt=\"Fangirls-Freakout\" width=\"300\" height=\"233\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">and some of this:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/dying-dying-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-17543\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/dying-dying-gif.gif\" alt=\"dying-dying-gif\" width=\"500\" height=\"282\">\u003c/a>\u003c/p>\n\u003cp>...because Joanna Newsom has finally announced \u003cem>Divers\u003c/em>, her first album since 2010's\u003cem> Have One on Me\u003c/em>, and unveiled a music video (directed by \u003ca href=\"http://www.imdb.com/name/nm0000759/\" target=\"_blank\">Paul Thomas Anderson\u003c/a>) for first single \"Sapokanikan.\"\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/ky9Ro9pP2gc'\n title='//www.youtube.com/embed/ky9Ro9pP2gc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you want to learn a bunch of new words and scare your friends with them, check out \u003ca href=\"http://genius.com/Joanna-newsom-sapokanikan-lyrics\" target=\"_blank\">the \"Sapokanikan\" lyrics\u003c/a>. Sample line: \"The cause is Ozymandian, the map of Sapokanikan is sanded and bevelled, the land lorn and leveled by some unrecorded and powerful hand.\" Flaunt that perfect SAT verbal score, Joanna!\u003c/p>\n\u003cp>\u003cem>Divers\u003c/em> comes out October 23, 2015.\u003c/p>\n\u003cp>Here's the cover art:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/JoannaNewsomArt.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17544\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/JoannaNewsomArt.jpg\" alt=\"JoannaNewsomArt\" width=\"620\" height=\"620\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt.jpg 620w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/JoannaNewsomArt-75x75.jpg 75w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>And here's the tracklist:\u003c/p>\n\u003cp>01 Anecdotes\u003cbr>\n02 Sapokanikan\u003cbr>\n03 Leaving the City\u003cbr>\n04 Goose Eggs\u003cbr>\n05 Waltz of the 101st Lightborne\u003cbr>\n06 The Things I Say\u003cbr>\n07 Divers\u003cbr>\n08 Same Old Man\u003cbr>\n09 You Will Not Take My Heart Alive\u003cbr>\n10 A Pin-Light Bent\u003cbr>\n11 Time, As a Symptom\u003c/p>\n\u003cp>If you want to sneak a listen to what is probably the seventh track, here you go:\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/VuN-4gykysU'\n title='//www.youtube.com/embed/VuN-4gykysU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or if you just want to celebrate, join me in singing along to this CeCe jam that encompasses everything we're feeling right now:\u003c/p>\n\u003cp>\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/xk8mm1Qmt-Y'\n title='//www.youtube.com/embed/xk8mm1Qmt-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing live in August.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_August_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfoutsidelands.com/\">Outside Lands Festival\u003c/a> is without a doubt the biggest local music event in August — and with good reason, given the well-curated mix of big names and bands-on-the-rise appearing over three days in Golden Gate Park. But there are plenty of smaller compelling shows this month as well, including a slew of shows celebrating new releases from local bands.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dirtyghosts\">Dirty Ghosts\u003c/a>\u003c/strong>’ new EP is an appetizer before the band’s full-length later this year, and “Cataract” showcases Allyson Baker’s compelling vocals and her ability to seamlessly blend retro-leaning punk and melodic pop instincts. We’ve similarly tracked the development of \u003cstrong>\u003ca href=\"https://www.facebook.com/WeAreMakeunder\">Makeunder\u003c/a>\u003c/strong> over the past few years. \u003cem>Great Headless Blank\u003c/em> arrives with high praise from NPR’s Bob Boilen, who \u003ca href=\"http://www.npr.org/sections/allsongs/2015/07/09/417727920/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep\">called the title track\u003c/a> “[one] of the most outstanding and challenging new bits of music I’ve heard this year.” Take a listen in this mix and then \u003ca href=\"http://www.npr.org/sections/allsongs/2015/07/09/417727920/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep\">read this song-by-song walkthrough\u003c/a> about the personal tragedies that impacted bandleader Hamilton Ulmer’s music. We’ve also included songs from new albums by locals \u003cstrong>\u003ca href=\"http://totalpeacers.com/\">PEACERS\u003c/a>\u003c/strong>, the latest band from Sic Alps’ Mike Donovan, the resurgent \u003cstrong>\u003ca href=\"https://www.facebook.com/thevelvetteen\">Velvet Teen\u003c/a>\u003c/strong>, and the departing \u003cstrong>\u003ca href=\"https://www.facebook.com/TheSandwitches\">Sandwitches\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The Velvet Teen formed in 2000, but \u003cstrong>\u003ca href=\"https://www.facebook.com/Failureband\">Failure\u003c/a>\u003c/strong> predates every band in this mix by a wide margin. The atmospheric alternative rock group’s initial run began in 1990 and ended in 1997, and one could be forgiven for assuming that a 17-year hiatus would hinder the group’s songwriting. That assumption would be wrong — their newly-arrived fourth LP, \u003cem>The Heart Is a Monster\u003c/em>, is garnering great reviews, making the band’s upcoming date at the Great American Music Hall worth seeking out.\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some concerts!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dirtyghosts\">Dirty Ghosts\u003c/a>\u003c/strong> – “Cataract”\u003cbr>\nOn Aug. 27, the band performs at the \u003ca href=\"http://sf-eagle.com/storm/calendar.php\">SF-Eagle\u003c/a> with Lecherous Gaze, Slick, and Juanfre & Jenny Bombo.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hibouband\">Hibou\u003c/a>\u003c/strong> – “Dissolve”\u003cbr>\nSupporting Cayucas at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on Aug. 17.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Mattson-2/168047583600\">Mattson 2\u003c/a>\u003c/strong> – “Dif Juz”\u003cbr>\nHeadlining Mollusk Surf Shop’s anniversary party on Aug. 15 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>; also performing are Sandy’s, Be Gulls, and Farmer Dave Scher.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://totalpeacers.com/\">PEACERS\u003c/a>\u003c/strong> – “R.J.D. (Salam)”\u003cbr>\nPEACERS opens for Brother JT and Carlton Melton on Aug. 15 at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thevelvetteen\">The Velvet Teen\u003c/a>\u003c/strong> – “Eclipses”\u003cbr>\nThe band concludes a US tour at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.poGpbNv7.dpbs\">Bottom of the Hill\u003c/a> on Aug. 21 and the \u003ca href=\"http://www.thephoenixtheater.com/\">Phoenix Theater\u003c/a> on Aug. 22.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/creepoid\">Creepoid\u003c/a>\u003c/strong> – “American Smile”\u003cbr>\nLocals LSD and the Search For God and Night School round out a great bill at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.poGpbNv7.dpbs\">Bottom of the Hill\u003c/a> on Aug. 14.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/healthnoise\">Health\u003c/a>\u003c/strong> – “New Coke”\u003cbr>\nComing to the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on Aug. 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kinggizzardandthelizardwizard\">King Gizzard & The Lizard Wizard\u003c/a>\u003c/strong> – “God Is In The Rhythm”\u003cbr>\nPlaying alongside Mild High Club and Once and Future Band on Aug. 29 at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/TheSandwitches\">The Sandwitches\u003c/a>\u003c/strong> – “Play It Again Dick”\u003cbr>\nCarletta Sue Kay and Kat Robichaud join this local trio at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on Aug. 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/WeAreMakeunder\">Makeunder\u003c/a>\u003c/strong> – “Great Headless Blank”\u003cbr>\nCelebrating the arrival of a new EP at \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on Aug. 22 with Bells Atlas and Fell Runner.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theblackrydermusic\">The Black Ryder\u003c/a>\u003c/strong> – “Let Me Be Your Light”\u003cbr>\nThe band comes to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with Peter Hayes of Black Rebel Motorcycle Club on Aug. 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ponytime\">Pony Time\u003c/a>\u003c/strong> – “Time Tells Me”\u003cbr>\nTouring with Wimps, the groups hits the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on Aug. 14; the show is rounded out by locals Male Gaze and OVVN.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/toyguitarband\">toyGuitar\u003c/a>\u003c/strong> – “Human Hyenas”\u003cbr>\nThe \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> hosts a night of local punk and indie rock on Aug. 29, with toyGuitar, California, the New Trust, and Dialectics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Failureband\">Failure\u003c/a>\u003c/strong> – “Mulholland Drive”\u003cbr>\nHeadlining the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> on Aug. 31; the New Regime opens.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing live in August.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_August_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfoutsidelands.com/\">Outside Lands Festival\u003c/a> is without a doubt the biggest local music event in August — and with good reason, given the well-curated mix of big names and bands-on-the-rise appearing over three days in Golden Gate Park. But there are plenty of smaller compelling shows this month as well, including a slew of shows celebrating new releases from local bands.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dirtyghosts\">Dirty Ghosts\u003c/a>\u003c/strong>’ new EP is an appetizer before the band’s full-length later this year, and “Cataract” showcases Allyson Baker’s compelling vocals and her ability to seamlessly blend retro-leaning punk and melodic pop instincts. We’ve similarly tracked the development of \u003cstrong>\u003ca href=\"https://www.facebook.com/WeAreMakeunder\">Makeunder\u003c/a>\u003c/strong> over the past few years. \u003cem>Great Headless Blank\u003c/em> arrives with high praise from NPR’s Bob Boilen, who \u003ca href=\"http://www.npr.org/sections/allsongs/2015/07/09/417727920/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep\">called the title track\u003c/a> “[one] of the most outstanding and challenging new bits of music I’ve heard this year.” Take a listen in this mix and then \u003ca href=\"http://www.npr.org/sections/allsongs/2015/07/09/417727920/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep\">read this song-by-song walkthrough\u003c/a> about the personal tragedies that impacted bandleader Hamilton Ulmer’s music. We’ve also included songs from new albums by locals \u003cstrong>\u003ca href=\"http://totalpeacers.com/\">PEACERS\u003c/a>\u003c/strong>, the latest band from Sic Alps’ Mike Donovan, the resurgent \u003cstrong>\u003ca href=\"https://www.facebook.com/thevelvetteen\">Velvet Teen\u003c/a>\u003c/strong>, and the departing \u003cstrong>\u003ca href=\"https://www.facebook.com/TheSandwitches\">Sandwitches\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The Velvet Teen formed in 2000, but \u003cstrong>\u003ca href=\"https://www.facebook.com/Failureband\">Failure\u003c/a>\u003c/strong> predates every band in this mix by a wide margin. The atmospheric alternative rock group’s initial run began in 1990 and ended in 1997, and one could be forgiven for assuming that a 17-year hiatus would hinder the group’s songwriting. That assumption would be wrong — their newly-arrived fourth LP, \u003cem>The Heart Is a Monster\u003c/em>, is garnering great reviews, making the band’s upcoming date at the Great American Music Hall worth seeking out.\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some concerts!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dirtyghosts\">Dirty Ghosts\u003c/a>\u003c/strong> – “Cataract”\u003cbr>\nOn Aug. 27, the band performs at the \u003ca href=\"http://sf-eagle.com/storm/calendar.php\">SF-Eagle\u003c/a> with Lecherous Gaze, Slick, and Juanfre & Jenny Bombo.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hibouband\">Hibou\u003c/a>\u003c/strong> – “Dissolve”\u003cbr>\nSupporting Cayucas at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on Aug. 17.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Mattson-2/168047583600\">Mattson 2\u003c/a>\u003c/strong> – “Dif Juz”\u003cbr>\nHeadlining Mollusk Surf Shop’s anniversary party on Aug. 15 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>; also performing are Sandy’s, Be Gulls, and Farmer Dave Scher.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://totalpeacers.com/\">PEACERS\u003c/a>\u003c/strong> – “R.J.D. (Salam)”\u003cbr>\nPEACERS opens for Brother JT and Carlton Melton on Aug. 15 at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thevelvetteen\">The Velvet Teen\u003c/a>\u003c/strong> – “Eclipses”\u003cbr>\nThe band concludes a US tour at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.poGpbNv7.dpbs\">Bottom of the Hill\u003c/a> on Aug. 21 and the \u003ca href=\"http://www.thephoenixtheater.com/\">Phoenix Theater\u003c/a> on Aug. 22.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/creepoid\">Creepoid\u003c/a>\u003c/strong> – “American Smile”\u003cbr>\nLocals LSD and the Search For God and Night School round out a great bill at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.poGpbNv7.dpbs\">Bottom of the Hill\u003c/a> on Aug. 14.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/healthnoise\">Health\u003c/a>\u003c/strong> – “New Coke”\u003cbr>\nComing to the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on Aug. 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kinggizzardandthelizardwizard\">King Gizzard & The Lizard Wizard\u003c/a>\u003c/strong> – “God Is In The Rhythm”\u003cbr>\nPlaying alongside Mild High Club and Once and Future Band on Aug. 29 at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/TheSandwitches\">The Sandwitches\u003c/a>\u003c/strong> – “Play It Again Dick”\u003cbr>\nCarletta Sue Kay and Kat Robichaud join this local trio at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on Aug. 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/WeAreMakeunder\">Makeunder\u003c/a>\u003c/strong> – “Great Headless Blank”\u003cbr>\nCelebrating the arrival of a new EP at \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on Aug. 22 with Bells Atlas and Fell Runner.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theblackrydermusic\">The Black Ryder\u003c/a>\u003c/strong> – “Let Me Be Your Light”\u003cbr>\nThe band comes to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with Peter Hayes of Black Rebel Motorcycle Club on Aug. 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ponytime\">Pony Time\u003c/a>\u003c/strong> – “Time Tells Me”\u003cbr>\nTouring with Wimps, the groups hits the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on Aug. 14; the show is rounded out by locals Male Gaze and OVVN.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/toyguitarband\">toyGuitar\u003c/a>\u003c/strong> – “Human Hyenas”\u003cbr>\nThe \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> hosts a night of local punk and indie rock on Aug. 29, with toyGuitar, California, the New Trust, and Dialectics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Failureband\">Failure\u003c/a>\u003c/strong> – “Mulholland Drive”\u003cbr>\nHeadlining the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> on Aug. 31; the New Regime opens.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Review: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Saturday at Outside Lands is always busier, crazier and more extreme in just about every way than either Friday or Sunday, and this year was no exception. As for the crowd, we witnessed more rule-breakers, gate-crashers, and people using Golden Gate Park’s lush landscape to shield a variety of salacious activities than ever; we also saw huge surges of communal joy, good-Samaritan acts toward strangers, and 70,000 people becoming greater than the sum of their parts.\u003c/p>\n\u003cp>The music reflected this. Check our \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday recap here\u003c/a>, and read on for what mattered on Outside Lands’ stages Saturday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886965\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886965\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED) \u003ccite>(Gabe Mel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Kendrick Lamar\u003c/h3>\n\u003cp>History will not be kind to the scheduling of \u003ca href=\"http://www.dailymotion.com/video/xg4m3s_subaru-legacy-puddles-tv-commercial_auto\" target=\"_blank\" rel=\"noopener\">professional Subaru salesmen\u003c/a> the Black Keys on Outside Lands’ main stage in the same time slot as Kendrick Lamar — heir to West Coast hip-hop’s throne, foregone victor of Album of the Year for \u003cem>To Pimp a Butterfly\u003c/em> — relegated to the second stage. But honestly, though it was crowded, the whole we’re-all-in-tight-together thing just felt \u003cem>right\u003c/em>. Kendrick turned in a festival-friendly set lopsided toward sure shots from his sophomore breakthrough \u003cem>good Kid, m.A.A.d. city\u003c/em> — “Swimming Pools,” “Backseat Freestyle,” “Bitch Don’t Kill My Vibe,” “Sing About Me, I’m Dying of Thirst” — which felt, for the first hour, slightly like a missed opportunity to challenge minds on a massive scale by dipping into the \u003ca href=\"http://pitchfork.com/reviews/albums/20390-to-pimp-a-butterfly/\" target=\"_blank\" rel=\"noopener\">highly politicized, musically experimental\u003c/a> material from his new album. But Kendrick’s smarter than that; no one wants to hear \u003ca href=\"https://www.youtube.com/watch?v=e5Ri76UodWM\" target=\"_blank\" rel=\"noopener\">tortured, drunken, crying poetry\u003c/a> at a festival. And so the three songs that came late in the set from \u003cem>To Pimp a Butterfly\u003c/em> were the obvious, accessible choices: “i,” “King Kunta,” and “Alright.” And you know what? By their universal nature, they brought the whole 30,000-strong hollow together at a time when \u003ca href=\"http://www.theroot.com/articles/news/2015/08/police_facebook_group_mocks_death_of_michael_brown.html\" target=\"_blank\" rel=\"noopener\">we could sure use a little more unity\u003c/a>. For set closer “Alright,” the large-scale video footage switched to scenes shot on Treasure Island as a California flag waved above the crowd. After a long biographical spoken-word interlude about overcoming adversity, Kendrick dedicated the song to a guy crowd-surfing… \u003cem>in a wheelchair\u003c/em>. We gon’ be alright, indeed. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886218\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg\" alt=\"Billy Idol performs at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Billy Idol performs at Outside Lands. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Billy Idol\u003c/h3>\n\u003cp>Yeah, Billy Idol is nearly a caricature at this point, but he’s an oddly lovable one. The curled lip and tough-guy posturing is easy to poke fun at, but can anyone successfully mock “\u003ca href=\"https://www.youtube.com/watch?v=BKmldYSDJaM\" target=\"_blank\" rel=\"noopener\">Eyes Without a Face\u003c/a>”? Good luck; the song is invincible. “Dancing With Myself”? Stands all tests of time. Even Idol’s cornier themes like “Flesh for Fantasy,” as he showed Saturday, hold up well. The major downside to Idol’s set was the criminal absence of “\u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Kiss Me Deadly\u003c/a>,” the greatest song about living on the streets of London ever written — just this beautiful, Springsteen-esque anthem of poverty and loneliness and teenage recklessness. \u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Listen to it here\u003c/a> as played by Idol’s early band Generation X, and then ask yourself why in the world Billy Idol would not simply play this song at every single show he ever plays. Instead, he closed with “Rebel Yell” and “White Wedding,” and everyone loved it, but alas. At least he represented Generation X’s stellar debut album with “Ready Steady Go.” Bonus: Billy Idol still has that signature snarl, and his band looks exactly like you’d imagine them to look; see slideshow below. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886223\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg\" alt=\"Big Freedia at GastroMagic at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia at GastroMagic at Outside Lands.\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Big Freedia\u003c/h3>\n\u003cp>It’s easy to feel down in an environment permeated by corporate sheen and overly targeted marketing — and that’s exactly when you should make your way over to wherever Big Freedia is, because Big Freedia is the antidote. What other artist can whip the crowd into a pure, visceral, ass-shaking frenzy, then calmly hand out fresh beignets from nearby trays — because this a tie-in with Brenda’s French Soul Food, you see — without missing a single glorious twerk-beat? If last summer’s relatively smoothed-out album \u003cem>Just Be Free\u003c/em> was intended to carry the Queen Diva of Bounce over the mainstream threshold, it’s reassuring to find that it wasn’t at the expense of the fantastically frenetic style which earned Freedia her loyal fans in the first place. She was magnetic above all else, lunging around a too-small stage with a graceful ferocity and conducting a constant stream of booty-moving from both her backup dancers and stage-crashing audience members. Say what you will about the homogeny of the mainstream music landscape in 2015, but the fact that someone like Freedia thrives with the kids (and it was a young, \u003cem>amped\u003c/em> crowd) is about as encouraging as it gets.\u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Tame Impala\u003c/h3>\n\u003cp>Tame Impala’s ascent has arguably relied upon songwriter/producer Kevin Parker’s ability to satisfy his own curiosity while still conjuring a sound that lands squarely in the middle of some touchy Venn diagrams: The Australian wunderkind makes psych-rock for people who roll their eyes at psych-rock, and electronic music for people who don’t think they like electronic music. Live, there’s the added challenge of translating a highly solitary recording experience into a bass-booming, head-nodding, stoner-accessible five-piece dance party. By that metric, Tame Impala took the Outside Lands main stage by the hand and led it into a wholly entertaining, self-assured mating ritual last night, playing nearly all the way through their new, critically lauded album \u003cem>Currents\u003c/em>. If there’s something fundamentally uninteresting about synth-driven music played at a festival scale by five dorky guys when it’s not even dark yet — even at their most animated, electronic fireworks are just not as exciting a live experience as guitar or drum fireworks, etc., no matter how many screensaver-trippy visuals you project onto a screen behind them — the gents make up for it by being just that endearingly dorky. “You look beautiful out there,” said Parker to the adoring hordes near the end of the set. “I felt awful when I woke up today, and you guys have really turned it around.” Do go on, Parker. We’d bet a healthy number of casual fans left devotees. \u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886976\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10886976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Negrito.jpg\" alt=\"Fantastic Negrito.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito.\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Support for Fantastic Negrito\u003c/h3>\n\u003cp>We’d have loved to include a midday set by Oakland’s own Fantastic Negrito in this roundup, but under highly questionable circumstances, his set was canceled. Instead of performing onstage as a victory lap for his NPR Tiny Desk Concert contest win, Fantastic Negrito — born Xavier Dphrepaulezz — sat for a reported three hours on Saturday in the back of an SFPD van, detained and handcuffed. The reason? It turns out a young intern of Negrito’s decided to sell an extra artist wristband for the festival on Craigslist, and was located by police outside the festival on the sidewalk, where he and two others, including Negrito, were detained — despite the intern reportedly admitting from the onset that he’d acted alone in scalping the wristband. Several news outlets picked up the story, both from the police department’s point of view \u003ca href=\"http://www.sfgate.com/bayarea/article/Fantastic-Negrito-s-Outside-Lands-show-canceled-6433539.php\" target=\"_blank\" rel=\"noopener\">in the \u003cem>Chronicle\u003c/em>\u003c/a> and Dphrepaulezz’s point of view \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/08/09/fantastic-negrito-detained-by-sfpd-on-questionable-grounds-at-outside-lands\" target=\"_blank\" rel=\"noopener\">in the \u003cem>East Bay Express\u003c/em>\u003c/a>, but the looming question regards festival organizers’ collusion with SFPD over the detention, \u003ca href=\"http://www.mercurynews.com/breaking-news/ci_28609911/oakland-musician-says-he-was-handcuffed-detained-by\" target=\"_blank\" rel=\"noopener\">reported in the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>, and the fact that the municipal code cited \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/630180785341923329\" target=\"_blank\" rel=\"noopener\">doesn’t actually apply to online sales\u003c/a>, or that illegal scalping remains rampant outside the festival gates. The upside to all this is that the story flew around social media all day, with Fantastic Negrito’s many fans showing support. At one point, a frustrated but gratified Dphrepaulezz \u003ca href=\"https://twitter.com/MusicNegrito/status/630193030998286337\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>: “I owe y’all a free concert on the steps of the SFPD station.” \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10886956,10886957,10886958,10886960,10886961,10886962,10886963,10886964,10886965,10886966,10886967,10886968,10886969,10886970,10886971,10886972,10886974,10886223,10886220,10886218\"]\u003c/p>\n\n",
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"excerpt": "Saturday in Golden Gate Park was bigger and crazier than ever -- reflected in a beignet-fueled booty-shaking fest, a questionable detention by SFPD, and a stellar set by Kendrick Lamar.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday at Outside Lands is always busier, crazier and more extreme in just about every way than either Friday or Sunday, and this year was no exception. As for the crowd, we witnessed more rule-breakers, gate-crashers, and people using Golden Gate Park’s lush landscape to shield a variety of salacious activities than ever; we also saw huge surges of communal joy, good-Samaritan acts toward strangers, and 70,000 people becoming greater than the sum of their parts.\u003c/p>\n\u003cp>The music reflected this. Check our \u003ca href=\"http://ww2.kqed.org/arts/2015/08/08/outside-lands-fridays-best-highlights-and-photos-2015/\" target=\"_blank\" rel=\"noopener\">Friday recap here\u003c/a>, and read on for what mattered on Outside Lands’ stages Saturday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886965\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886965\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Kendrick.Spit_-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED) \u003ccite>(Gabe Mel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Kendrick Lamar\u003c/h3>\n\u003cp>History will not be kind to the scheduling of \u003ca href=\"http://www.dailymotion.com/video/xg4m3s_subaru-legacy-puddles-tv-commercial_auto\" target=\"_blank\" rel=\"noopener\">professional Subaru salesmen\u003c/a> the Black Keys on Outside Lands’ main stage in the same time slot as Kendrick Lamar — heir to West Coast hip-hop’s throne, foregone victor of Album of the Year for \u003cem>To Pimp a Butterfly\u003c/em> — relegated to the second stage. But honestly, though it was crowded, the whole we’re-all-in-tight-together thing just felt \u003cem>right\u003c/em>. Kendrick turned in a festival-friendly set lopsided toward sure shots from his sophomore breakthrough \u003cem>good Kid, m.A.A.d. city\u003c/em> — “Swimming Pools,” “Backseat Freestyle,” “Bitch Don’t Kill My Vibe,” “Sing About Me, I’m Dying of Thirst” — which felt, for the first hour, slightly like a missed opportunity to challenge minds on a massive scale by dipping into the \u003ca href=\"http://pitchfork.com/reviews/albums/20390-to-pimp-a-butterfly/\" target=\"_blank\" rel=\"noopener\">highly politicized, musically experimental\u003c/a> material from his new album. But Kendrick’s smarter than that; no one wants to hear \u003ca href=\"https://www.youtube.com/watch?v=e5Ri76UodWM\" target=\"_blank\" rel=\"noopener\">tortured, drunken, crying poetry\u003c/a> at a festival. And so the three songs that came late in the set from \u003cem>To Pimp a Butterfly\u003c/em> were the obvious, accessible choices: “i,” “King Kunta,” and “Alright.” And you know what? By their universal nature, they brought the whole 30,000-strong hollow together at a time when \u003ca href=\"http://www.theroot.com/articles/news/2015/08/police_facebook_group_mocks_death_of_michael_brown.html\" target=\"_blank\" rel=\"noopener\">we could sure use a little more unity\u003c/a>. For set closer “Alright,” the large-scale video footage switched to scenes shot on Treasure Island as a California flag waved above the crowd. After a long biographical spoken-word interlude about overcoming adversity, Kendrick dedicated the song to a guy crowd-surfing… \u003cem>in a wheelchair\u003c/em>. We gon’ be alright, indeed. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886218\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg\" alt=\"Billy Idol performs at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/billy-idol-1920-rebel-yell-wendygoodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Billy Idol performs at Outside Lands. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Billy Idol\u003c/h3>\n\u003cp>Yeah, Billy Idol is nearly a caricature at this point, but he’s an oddly lovable one. The curled lip and tough-guy posturing is easy to poke fun at, but can anyone successfully mock “\u003ca href=\"https://www.youtube.com/watch?v=BKmldYSDJaM\" target=\"_blank\" rel=\"noopener\">Eyes Without a Face\u003c/a>”? Good luck; the song is invincible. “Dancing With Myself”? Stands all tests of time. Even Idol’s cornier themes like “Flesh for Fantasy,” as he showed Saturday, hold up well. The major downside to Idol’s set was the criminal absence of “\u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Kiss Me Deadly\u003c/a>,” the greatest song about living on the streets of London ever written — just this beautiful, Springsteen-esque anthem of poverty and loneliness and teenage recklessness. \u003ca href=\"https://www.youtube.com/watch?v=ncEjFI9OXEM\" target=\"_blank\" rel=\"noopener\">Listen to it here\u003c/a> as played by Idol’s early band Generation X, and then ask yourself why in the world Billy Idol would not simply play this song at every single show he ever plays. Instead, he closed with “Rebel Yell” and “White Wedding,” and everyone loved it, but alas. At least he represented Generation X’s stellar debut album with “Ready Steady Go.” Bonus: Billy Idol still has that signature snarl, and his band looks exactly like you’d imagine them to look; see slideshow below. \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886223\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg\" alt=\"Big Freedia at GastroMagic at Outside Lands. Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/big-freedia-wendy-goodfriend-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia at GastroMagic at Outside Lands.\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Big Freedia\u003c/h3>\n\u003cp>It’s easy to feel down in an environment permeated by corporate sheen and overly targeted marketing — and that’s exactly when you should make your way over to wherever Big Freedia is, because Big Freedia is the antidote. What other artist can whip the crowd into a pure, visceral, ass-shaking frenzy, then calmly hand out fresh beignets from nearby trays — because this a tie-in with Brenda’s French Soul Food, you see — without missing a single glorious twerk-beat? If last summer’s relatively smoothed-out album \u003cem>Just Be Free\u003c/em> was intended to carry the Queen Diva of Bounce over the mainstream threshold, it’s reassuring to find that it wasn’t at the expense of the fantastically frenetic style which earned Freedia her loyal fans in the first place. She was magnetic above all else, lunging around a too-small stage with a graceful ferocity and conducting a constant stream of booty-moving from both her backup dancers and stage-crashing audience members. Say what you will about the homogeny of the mainstream music landscape in 2015, but the fact that someone like Freedia thrives with the kids (and it was a young, \u003cem>amped\u003c/em> crowd) is about as encouraging as it gets.\u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10886970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg\" alt=\"(Photo: Gabe Meline/KQED)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TameImpala-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Tame Impala\u003c/h3>\n\u003cp>Tame Impala’s ascent has arguably relied upon songwriter/producer Kevin Parker’s ability to satisfy his own curiosity while still conjuring a sound that lands squarely in the middle of some touchy Venn diagrams: The Australian wunderkind makes psych-rock for people who roll their eyes at psych-rock, and electronic music for people who don’t think they like electronic music. Live, there’s the added challenge of translating a highly solitary recording experience into a bass-booming, head-nodding, stoner-accessible five-piece dance party. By that metric, Tame Impala took the Outside Lands main stage by the hand and led it into a wholly entertaining, self-assured mating ritual last night, playing nearly all the way through their new, critically lauded album \u003cem>Currents\u003c/em>. If there’s something fundamentally uninteresting about synth-driven music played at a festival scale by five dorky guys when it’s not even dark yet — even at their most animated, electronic fireworks are just not as exciting a live experience as guitar or drum fireworks, etc., no matter how many screensaver-trippy visuals you project onto a screen behind them — the gents make up for it by being just that endearingly dorky. “You look beautiful out there,” said Parker to the adoring hordes near the end of the set. “I felt awful when I woke up today, and you guys have really turned it around.” Do go on, Parker. We’d bet a healthy number of casual fans left devotees. \u003cem>— E.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10886976\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10886976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Negrito.jpg\" alt=\"Fantastic Negrito.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Negrito-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito.\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Support for Fantastic Negrito\u003c/h3>\n\u003cp>We’d have loved to include a midday set by Oakland’s own Fantastic Negrito in this roundup, but under highly questionable circumstances, his set was canceled. Instead of performing onstage as a victory lap for his NPR Tiny Desk Concert contest win, Fantastic Negrito — born Xavier Dphrepaulezz — sat for a reported three hours on Saturday in the back of an SFPD van, detained and handcuffed. The reason? It turns out a young intern of Negrito’s decided to sell an extra artist wristband for the festival on Craigslist, and was located by police outside the festival on the sidewalk, where he and two others, including Negrito, were detained — despite the intern reportedly admitting from the onset that he’d acted alone in scalping the wristband. Several news outlets picked up the story, both from the police department’s point of view \u003ca href=\"http://www.sfgate.com/bayarea/article/Fantastic-Negrito-s-Outside-Lands-show-canceled-6433539.php\" target=\"_blank\" rel=\"noopener\">in the \u003cem>Chronicle\u003c/em>\u003c/a> and Dphrepaulezz’s point of view \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/08/09/fantastic-negrito-detained-by-sfpd-on-questionable-grounds-at-outside-lands\" target=\"_blank\" rel=\"noopener\">in the \u003cem>East Bay Express\u003c/em>\u003c/a>, but the looming question regards festival organizers’ collusion with SFPD over the detention, \u003ca href=\"http://www.mercurynews.com/breaking-news/ci_28609911/oakland-musician-says-he-was-handcuffed-detained-by\" target=\"_blank\" rel=\"noopener\">reported in the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>, and the fact that the municipal code cited \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/630180785341923329\" target=\"_blank\" rel=\"noopener\">doesn’t actually apply to online sales\u003c/a>, or that illegal scalping remains rampant outside the festival gates. The upside to all this is that the story flew around social media all day, with Fantastic Negrito’s many fans showing support. At one point, a frustrated but gratified Dphrepaulezz \u003ca href=\"https://twitter.com/MusicNegrito/status/630193030998286337\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>: “I owe y’all a free concert on the steps of the SFPD station.” \u003cem>— G.M.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
"title": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
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"content": "\u003cp>[dropcap]T[/dropcap]here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8WRo3j5XS-A\u003c/p>\n\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Daly is a Bay Area journalist and entrepreneur -- frequently both. He's launched successful publications for TED Curator Chris Anderson (TED Books, Business 2.0) and filmmaker George Lucas (Edutopia), serving as editor in chief of all. Daly has also worked and written for Wired, Forbes, Rolling Stone, Sonoma, Spin, Red Herring, i-D, the San Francisco Chronicle and the Los Angeles Times. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\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/8WRo3j5XS-A'\n title='//www.youtube.com/embed/8WRo3j5XS-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz",
"headTitle": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A variety of jazz, blues and world music across 13 stages\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 6 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\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/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rashaan Roland Kirk Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A celebration of legendary jazz saxophonist Rahsaan Roland Kirk\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 4 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cafe Stritch\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Con Brio is having a moment. The San Francisco soul band landed the challenging and high profile assignment of opening up San Jose Jazz’s\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> Summer Fest \u003c/a>on the main stage Friday afternoon at the north end of the Plaza de Cesar Chavez. Ziek McCarter, Con Brio’s dynamic lead vocalist and snake-hipped guiding spirit, did his best to spark the weekend-long street party, and by the end of the 80-minute set he could be proud of a job well done. \u003c/p>\n\u003cp>Summer Fest kicks into frenzy mode around noon Saturday, with 13 stages and half a dozen acts performing simultaneously in venues and stages arrayed around the plaza through Sunday night. Friday’s more limited offerings set the mood for the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_10885344\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg\" alt=\"Con Brio\" width=\"735\" height=\"600\" class=\"size-medium wp-image-10885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2.jpg 800w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sleek and sinewy funk/disco combo that makes the most of its six-piece instrumentation, Con Brio rides on the buoyant crest of Benjamin Andrews’ relentlessly grooving rhythm guitar. With a beseeching tenor that floats effortlessly up to a silky smooth falsetto, McCarter occupies the uncrowded sweet-end of the soul vocal spectrum. Egalitarian in outlook and decidedly anti-materialist in sensibility, Con Brio purveys San Francisco R&B, though they’re half a hook away from breaking out of the Bay Area. The band’s best songs, like the anthem “Never Going to be the Same,” sound like half-forgotten hits from 1978 (the band’s moment continues this weekend when Con Brio opens for Morris Day and the Time at Stern Grove on Sunday afternoon).\u003c/p>\n\u003cp>Strolling down 1\u003csup>st\u003c/sup> Street, Summer Fest and San Jose’s First Friday street party converged for the first time, and the air was suddenly charged with the sound of pure rhumba. San Jose Jazz has always put Afro-Caribbean music at the center of the festival, but this was something new and extraordinary, as Cuban conguero Jesus Diaz led an all-star rhumba session from the back of SJZ Boom Box Stage (a box truck with the side cut out and painted to look like a giant boom box). It was like stumbling into a street corner gathering in Havana, with Diaz and vocalist Fito Reynoso delivering invocations accompanied by a conga battery including unbilled percussion master Michael Spiro\u003c/p>\n\u003cp>So where was the jazz happening? On Friday, the prime spot was also on First Street, where Café Stritch was in the midst of the third annual Rahsaanathon, a mini-festival that parallels but isn’t officially part of Summer Fest, and summons the spirit of the singular horn player, composer, and bandleader Rahsaan Roland Kirk.\u003c/p>\n\u003cfigure id=\"attachment_10885346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-800x534.jpg\" alt=\"Jesus Diaz\" width=\"800\" height=\"534\" class=\"size-medium wp-image-10885346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Diaz \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday was the second of three nights featuring East Bay-raised trombonist Steve Turre, a fixture on the New York scene for some four decades who spent his formative years playing with Kirk on Bay Area stages. Turre has presented Kirk’s music around the world, but Café Stritch has quickly become his Rahsaanian homebase.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating the occasion of Kirk’s 80\u003csup>th\u003c/sup> birthday (1935-1977), Turre’s Eulipion All-Stars feature Oakland-raised New York drummer Darrell Green, bassist Marcus Shelby, pianist Matt Clark, alto and soprano saxophonist Charles McNeal (who is much missed in the Bay Area since relocating to Las Vegas), and protean multi-instrumentalist James Carter (who also plays a quartet show with the same rhythm section at Stritch on Sunday). \u003c/p>\n\u003cp>Kirk wrote memorable themes that embodied his tragic, ecstatic and supremely humane sensibility, like the episodic “Three For the Festival” and sassy “Dorthaan’s Walk,” and the Eulipion All-Stars engaged fully with the music’s unruly, emotionally charged spirit.\u003c/p>\n\u003cfigure id=\"attachment_10885347\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tower-of-Power-800x517.jpg\" alt=\"Tower of Power at San Jose Jazz’s Summer Fest\" width=\"800\" height=\"517\" class=\"size-medium wp-image-10885347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power-400x259.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power at San Jose Jazz’s Summer Fest \u003ccite>(Courtesy of San Jose Jazz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As on the previous Rahsaanathons, the ageless poet Betty Neals was on hand to recite her verse she recorded with Kirk on his album classic 1976 \u003cem>The Return of the 5000 lb Man\u003c/em>, providing the evening with a true benediction (a blessing amplified by Kirk’s widow Dorthaan Kirk, who was also in the house). And powerhouse blues and jazz singer Terrie Odabi infused the Eulipion theme with a regal and earthy air (she headlines her own show at Yoshi’s on Sept. 8). Around midnight Café Stritch’s Steve Borkenhagen presented Carter with Kirk’s reconditioned namesake Stritch, a straight alto with a keening tone, adding another layer to the Kirkian communion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the best festivals leave you exhilarated by music you experienced and frustrated by the acts you missed, Summer Fest and the Rahsaanathon deserve their reputations as being some of the Bay Area’s essential cultural events. For Saturday, bring on the Brazilians with Letieres Leite and Orchestra Rumpilezz!\u003c/p>\n\n",
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"excerpt": "San Jose Jazz's Summer Fest soars with funk, rhumba and the ecstatic music of Rahsaan Roland Kirk on Friday. And then things really get hot on Saturday.",
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"description": "San Jose Jazz's Summer Fest soars with funk, rhumba and the ecstatic music of Rahsaan Roland Kirk on Friday. And then things really get hot on Saturday.",
"title": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz | KQED",
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"headline": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz",
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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/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A variety of jazz, blues and world music across 13 stages\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 6 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\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/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rashaan Roland Kirk Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A celebration of legendary jazz saxophonist Rahsaan Roland Kirk\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 4 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cafe Stritch\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Con Brio is having a moment. The San Francisco soul band landed the challenging and high profile assignment of opening up San Jose Jazz’s\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> Summer Fest \u003c/a>on the main stage Friday afternoon at the north end of the Plaza de Cesar Chavez. Ziek McCarter, Con Brio’s dynamic lead vocalist and snake-hipped guiding spirit, did his best to spark the weekend-long street party, and by the end of the 80-minute set he could be proud of a job well done. \u003c/p>\n\u003cp>Summer Fest kicks into frenzy mode around noon Saturday, with 13 stages and half a dozen acts performing simultaneously in venues and stages arrayed around the plaza through Sunday night. Friday’s more limited offerings set the mood for the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_10885344\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg\" alt=\"Con Brio\" width=\"735\" height=\"600\" class=\"size-medium wp-image-10885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2.jpg 800w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sleek and sinewy funk/disco combo that makes the most of its six-piece instrumentation, Con Brio rides on the buoyant crest of Benjamin Andrews’ relentlessly grooving rhythm guitar. With a beseeching tenor that floats effortlessly up to a silky smooth falsetto, McCarter occupies the uncrowded sweet-end of the soul vocal spectrum. Egalitarian in outlook and decidedly anti-materialist in sensibility, Con Brio purveys San Francisco R&B, though they’re half a hook away from breaking out of the Bay Area. The band’s best songs, like the anthem “Never Going to be the Same,” sound like half-forgotten hits from 1978 (the band’s moment continues this weekend when Con Brio opens for Morris Day and the Time at Stern Grove on Sunday afternoon).\u003c/p>\n\u003cp>Strolling down 1\u003csup>st\u003c/sup> Street, Summer Fest and San Jose’s First Friday street party converged for the first time, and the air was suddenly charged with the sound of pure rhumba. San Jose Jazz has always put Afro-Caribbean music at the center of the festival, but this was something new and extraordinary, as Cuban conguero Jesus Diaz led an all-star rhumba session from the back of SJZ Boom Box Stage (a box truck with the side cut out and painted to look like a giant boom box). It was like stumbling into a street corner gathering in Havana, with Diaz and vocalist Fito Reynoso delivering invocations accompanied by a conga battery including unbilled percussion master Michael Spiro\u003c/p>\n\u003cp>So where was the jazz happening? On Friday, the prime spot was also on First Street, where Café Stritch was in the midst of the third annual Rahsaanathon, a mini-festival that parallels but isn’t officially part of Summer Fest, and summons the spirit of the singular horn player, composer, and bandleader Rahsaan Roland Kirk.\u003c/p>\n\u003cfigure id=\"attachment_10885346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-800x534.jpg\" alt=\"Jesus Diaz\" width=\"800\" height=\"534\" class=\"size-medium wp-image-10885346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Diaz \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday was the second of three nights featuring East Bay-raised trombonist Steve Turre, a fixture on the New York scene for some four decades who spent his formative years playing with Kirk on Bay Area stages. Turre has presented Kirk’s music around the world, but Café Stritch has quickly become his Rahsaanian homebase.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating the occasion of Kirk’s 80\u003csup>th\u003c/sup> birthday (1935-1977), Turre’s Eulipion All-Stars feature Oakland-raised New York drummer Darrell Green, bassist Marcus Shelby, pianist Matt Clark, alto and soprano saxophonist Charles McNeal (who is much missed in the Bay Area since relocating to Las Vegas), and protean multi-instrumentalist James Carter (who also plays a quartet show with the same rhythm section at Stritch on Sunday). \u003c/p>\n\u003cp>Kirk wrote memorable themes that embodied his tragic, ecstatic and supremely humane sensibility, like the episodic “Three For the Festival” and sassy “Dorthaan’s Walk,” and the Eulipion All-Stars engaged fully with the music’s unruly, emotionally charged spirit.\u003c/p>\n\u003cfigure id=\"attachment_10885347\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tower-of-Power-800x517.jpg\" alt=\"Tower of Power at San Jose Jazz’s Summer Fest\" width=\"800\" height=\"517\" class=\"size-medium wp-image-10885347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power-400x259.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power at San Jose Jazz’s Summer Fest \u003ccite>(Courtesy of San Jose Jazz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As on the previous Rahsaanathons, the ageless poet Betty Neals was on hand to recite her verse she recorded with Kirk on his album classic 1976 \u003cem>The Return of the 5000 lb Man\u003c/em>, providing the evening with a true benediction (a blessing amplified by Kirk’s widow Dorthaan Kirk, who was also in the house). And powerhouse blues and jazz singer Terrie Odabi infused the Eulipion theme with a regal and earthy air (she headlines her own show at Yoshi’s on Sept. 8). Around midnight Café Stritch’s Steve Borkenhagen presented Carter with Kirk’s reconditioned namesake Stritch, a straight alto with a keening tone, adding another layer to the Kirkian communion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the best festivals leave you exhilarated by music you experienced and frustrated by the acts you missed, Summer Fest and the Rahsaanathon deserve their reputations as being some of the Bay Area’s essential cultural events. For Saturday, bring on the Brazilians with Letieres Leite and Orchestra Rumpilezz!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Review: Friday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>With dense crowds, long lines and weather that can turn on even the most well-prepared, why would anyone go to Outside Lands? The answer, of course, is the music, which in its breadth and sometimes \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">overwhelming plenty\u003c/a>, never disappoints us.\u003c/p>\n\u003cp>While our KQED colleagues over at \u003ca href=\"http://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2015/08/08/foodie-guide-to-outside-lands-2015/\" target=\"_blank\" rel=\"noopener\">run-down of this year’s best food offerings\u003c/a>, here’s what resonated with us onstage at Friday’s opening day for this year’s Outside Lands.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday’s recap here\u003c/a>, and \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10885111\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg\" alt=\"D'Angelo. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. D’Angelo\u003c/h3>\n\u003cp>After a 14-year hiatus, the soul visionary and notorious recluse finally emerged from hiding, and damn, did he bring the goods. For those unable to catch his sold-out-in-seconds show at the Fox Theater in Oakland earlier this year, D’Angelo’s set at Outside Lands was a swampy, jubilant salve, backed by a 10-piece band. When we managed to take our focus off the man himself — D’Angelo could clip his fingernails onstage and it’d be mesmerizing — we gawked at bassist supreme Pino Palladino, blazing guitarist Jesse Johnson or the thousands in the crowd grinding, gyrating or just stone-cold making out. Save for “Brown Sugar,” the set pulled entirely from D’Angelo’s new album \u003cem>Black Messiah\u003c/em>, and not a nod at all to 2000’s \u003cem>Voodoo\u003c/em> or its biggest hit, “Untitled (How Does It Feel?),” which the teeming field clearly wanted as an encore. Leave ’em wanting more, the saying goes; D’Angelo could have played for three hours and never lost the crowd. \u003c/p>\n\u003cfigure id=\"attachment_10885104\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg\" alt=\"St. Vincent. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. St. Vincent\u003c/h3>\n\u003cp>Still riding the crest of last year’s excellent \u003cem>St. Vincent\u003c/em>, Annie Clark emerged from the wings in a black jumpsuit that looked as if it’d been rototilled. She then proceeded to rototill the entire Polo Field with jarring rhythms, reaching-for-the-heavens melodies and a backing band that worked alternately like an industrial scythe and a Moroccan snake ritual. As the nation’s collectively dropped jaws can attest, Clark’s angular guitar solos are a dazzling thing in and of themselves; when paired with her excellent band and intricate songwriting, they become eruptive. Year after year, she puts out great records and yet is still reduced to \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3190241/Cara-Delevingne-s-girlfriend-St-Vincent-shows-incredible-physique-plunging-leather-jumpsuit-performs-Outside-Lands-Festival.html\" target=\"_blank\" rel=\"noopener\">garbage headlines like this which ignore her music entirely\u003c/a>; there’s no way anyone who saw her Friday left talking about anything but. \u003c/p>\n\u003cfigure id=\"attachment_10885105\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg\" alt=\"Tig Notaro. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tig Notaro. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Tig Notaro\u003c/h3>\n\u003cp>Bands, bands, bands. At least once during the weekend each year, a trip to the comedy tent is recommended to change up the pace. Tig Notaro, a brilliant master of timing and deprecation, changes the pace wherever she goes. After a stellar opening set by James Adomian (his Louis C.K. impression was eerily precise), and a complete bomb of a set by Andy Kindler from \u003cem>Everybody Loves Raymond\u003c/em>, Notaro made masterpieces of misfortune. After promising that “I don’t typically talk about things that are upsetting to people” — counter to the fact that her most famous performance was about having cancer, being dumped and her mother dying — someone shouted “Liar!” Taking the cue, Notaro continued: “So I want to tell you about a time when I should have been molested, but then I wasn’t.” Everybody laughed, but she wasn’t kidding: she told the story — and it was \u003cem>hilarious\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885092\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg\" alt=\"Amon Tobin. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amon Tobin. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Amon Tobin\u003c/h3>\n\u003cp>There are plenty of works of art throughout the festival grounds (shout out to KQED’s own Kristin Farr, whose designs \u003ca href=\"https://instagram.com/p/6GJAAapASJ/\" target=\"_blank\" rel=\"noopener\">flank the Sutro stage\u003c/a> this year) and with nine new large murals created on-site each year, Outside Lands has amassed an impressive collection. But the biggest piece of art on Friday was Brazilian producer Amon Tobin’s gigantic \u003cem>ISAM 2.0\u003c/em> stage set, a cubist sprawl that’s reminiscent of the \u003ca href=\"http://www.sfgate.com/default/article/A-taste-of-Temko-his-take-on-6-S-F-buildings-3163489.php\" target=\"_blank\" rel=\"noopener\">excrement-deposited-by-a-giant-concrete-dog-with-square-intestines\u003c/a> Vaillancourt Fountain in the Embarcadero. With dizzying landscapes and patterns projected in 3D upon its surface, and with Tobin housed inside performing a cross-pollination of EDM and the suicide nets at Foxconn, the set is legendary in electronic-music circles, but intriguing enough to the casual passerby. When I \u003ca href=\"http://citysound.bohemian.com/2011/10/02/live-review-amon-tobin-isam-at-the-warfield/\" target=\"_blank\" rel=\"noopener\">saw it at the Warfield in 2011\u003c/a>, I surmised that it belongs in a museum. The assessment stands.\u003c/p>\n\u003cfigure id=\"attachment_10885100\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg\" alt=\"Lindsey Stirling. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Stirling. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lindsey Stirling\u003c/h3>\n\u003cp>A chipper, vivacious and semi-confusing \u003cem>Lord of the Dance\u003c/em> for the seapunk generation, Lindsey Stirling kicked and twirled her way into the hearts of the crowd Friday afternoon. Stirling is a YouTube violin sensation who plays a manic sort of Celtic-inspired fiddle, flanked by four backup dancers and various props (e.g., a tombstone bearing the name of Piers Morgan). Though repetitive, her set provided a welcome respite from the hordes of unshaven guitar-slinging mopes with lovelorn choruses and vintage tube amps so plentiful at any music festival. A \u003cem>Riverdance\u003c/em> revival with pink hair, a pirate chest, a pantomime of a sailing ship and a death wish for boorish race-baiting late-night hosts? Sign me up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10885104,10885099,10885094,10885100,10884501,10885103,10885111,10885101,10884504,10884497,10884506,10885105,10885102,10885095,10885098,10885097,10885093,10884512,10885092,10884510,10884502,10885096, 10884492,10884499,10885106\"]\u003c/p>\n\n",
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"excerpt": "A neo-soul genius, a seapunk 'Riverdance' revival, a guitar goddess and more dot our list of Friday's Outside Lands highlights and photos.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With dense crowds, long lines and weather that can turn on even the most well-prepared, why would anyone go to Outside Lands? The answer, of course, is the music, which in its breadth and sometimes \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">overwhelming plenty\u003c/a>, never disappoints us.\u003c/p>\n\u003cp>While our KQED colleagues over at \u003ca href=\"http://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2015/08/08/foodie-guide-to-outside-lands-2015/\" target=\"_blank\" rel=\"noopener\">run-down of this year’s best food offerings\u003c/a>, here’s what resonated with us onstage at Friday’s opening day for this year’s Outside Lands.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday’s recap here\u003c/a>, and \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10885111\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg\" alt=\"D'Angelo. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. D’Angelo\u003c/h3>\n\u003cp>After a 14-year hiatus, the soul visionary and notorious recluse finally emerged from hiding, and damn, did he bring the goods. For those unable to catch his sold-out-in-seconds show at the Fox Theater in Oakland earlier this year, D’Angelo’s set at Outside Lands was a swampy, jubilant salve, backed by a 10-piece band. When we managed to take our focus off the man himself — D’Angelo could clip his fingernails onstage and it’d be mesmerizing — we gawked at bassist supreme Pino Palladino, blazing guitarist Jesse Johnson or the thousands in the crowd grinding, gyrating or just stone-cold making out. Save for “Brown Sugar,” the set pulled entirely from D’Angelo’s new album \u003cem>Black Messiah\u003c/em>, and not a nod at all to 2000’s \u003cem>Voodoo\u003c/em> or its biggest hit, “Untitled (How Does It Feel?),” which the teeming field clearly wanted as an encore. Leave ’em wanting more, the saying goes; D’Angelo could have played for three hours and never lost the crowd. \u003c/p>\n\u003cfigure id=\"attachment_10885104\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg\" alt=\"St. Vincent. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. St. Vincent\u003c/h3>\n\u003cp>Still riding the crest of last year’s excellent \u003cem>St. Vincent\u003c/em>, Annie Clark emerged from the wings in a black jumpsuit that looked as if it’d been rototilled. She then proceeded to rototill the entire Polo Field with jarring rhythms, reaching-for-the-heavens melodies and a backing band that worked alternately like an industrial scythe and a Moroccan snake ritual. As the nation’s collectively dropped jaws can attest, Clark’s angular guitar solos are a dazzling thing in and of themselves; when paired with her excellent band and intricate songwriting, they become eruptive. Year after year, she puts out great records and yet is still reduced to \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3190241/Cara-Delevingne-s-girlfriend-St-Vincent-shows-incredible-physique-plunging-leather-jumpsuit-performs-Outside-Lands-Festival.html\" target=\"_blank\" rel=\"noopener\">garbage headlines like this which ignore her music entirely\u003c/a>; there’s no way anyone who saw her Friday left talking about anything but. \u003c/p>\n\u003cfigure id=\"attachment_10885105\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg\" alt=\"Tig Notaro. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tig Notaro. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Tig Notaro\u003c/h3>\n\u003cp>Bands, bands, bands. At least once during the weekend each year, a trip to the comedy tent is recommended to change up the pace. Tig Notaro, a brilliant master of timing and deprecation, changes the pace wherever she goes. After a stellar opening set by James Adomian (his Louis C.K. impression was eerily precise), and a complete bomb of a set by Andy Kindler from \u003cem>Everybody Loves Raymond\u003c/em>, Notaro made masterpieces of misfortune. After promising that “I don’t typically talk about things that are upsetting to people” — counter to the fact that her most famous performance was about having cancer, being dumped and her mother dying — someone shouted “Liar!” Taking the cue, Notaro continued: “So I want to tell you about a time when I should have been molested, but then I wasn’t.” Everybody laughed, but she wasn’t kidding: she told the story — and it was \u003cem>hilarious\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885092\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg\" alt=\"Amon Tobin. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amon Tobin. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Amon Tobin\u003c/h3>\n\u003cp>There are plenty of works of art throughout the festival grounds (shout out to KQED’s own Kristin Farr, whose designs \u003ca href=\"https://instagram.com/p/6GJAAapASJ/\" target=\"_blank\" rel=\"noopener\">flank the Sutro stage\u003c/a> this year) and with nine new large murals created on-site each year, Outside Lands has amassed an impressive collection. But the biggest piece of art on Friday was Brazilian producer Amon Tobin’s gigantic \u003cem>ISAM 2.0\u003c/em> stage set, a cubist sprawl that’s reminiscent of the \u003ca href=\"http://www.sfgate.com/default/article/A-taste-of-Temko-his-take-on-6-S-F-buildings-3163489.php\" target=\"_blank\" rel=\"noopener\">excrement-deposited-by-a-giant-concrete-dog-with-square-intestines\u003c/a> Vaillancourt Fountain in the Embarcadero. With dizzying landscapes and patterns projected in 3D upon its surface, and with Tobin housed inside performing a cross-pollination of EDM and the suicide nets at Foxconn, the set is legendary in electronic-music circles, but intriguing enough to the casual passerby. When I \u003ca href=\"http://citysound.bohemian.com/2011/10/02/live-review-amon-tobin-isam-at-the-warfield/\" target=\"_blank\" rel=\"noopener\">saw it at the Warfield in 2011\u003c/a>, I surmised that it belongs in a museum. The assessment stands.\u003c/p>\n\u003cfigure id=\"attachment_10885100\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg\" alt=\"Lindsey Stirling. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Stirling. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lindsey Stirling\u003c/h3>\n\u003cp>A chipper, vivacious and semi-confusing \u003cem>Lord of the Dance\u003c/em> for the seapunk generation, Lindsey Stirling kicked and twirled her way into the hearts of the crowd Friday afternoon. Stirling is a YouTube violin sensation who plays a manic sort of Celtic-inspired fiddle, flanked by four backup dancers and various props (e.g., a tombstone bearing the name of Piers Morgan). Though repetitive, her set provided a welcome respite from the hordes of unshaven guitar-slinging mopes with lovelorn choruses and vintage tube amps so plentiful at any music festival. A \u003cem>Riverdance\u003c/em> revival with pink hair, a pirate chest, a pantomime of a sailing ship and a death wish for boorish race-baiting late-night hosts? Sign me up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live Review: Wilco at the Independent, A Most Decent Exposure",
"headTitle": "Live Review: Wilco at the Independent, A Most Decent Exposure | KQED",
"content": "\u003cp>While rock star Lenny Kravitz \u003ca href=\"http://www.hitfix.com/comedy/lenny-kravitz-hilariously-responds-to-wardrobe-malfunction-on-twitter\" target=\"_blank\" rel=\"noopener\">reminded us this week\u003c/a> of one unfortunate way musicians can expose themselves on stage, Wilco’s intimate performance last night at the Independent captured quite another.\u003c/p>\n\u003cp>It’s perhaps inevitable that a band acclimated to festivals and enormous theaters could feel a bit exposed at the Independent — a venue with a capacity of just over 400, which is probably the same amount of people who’ll be waiting in line to buy beer when the band takes the stage at \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> tonight. But Wilco (and opening act Vetiver, operating as a duo) handled the challenge spectacularly. Instead of bringing their arena-sized riffs and explosive walls of sound to the Independent, the Chicago six-piece opted for a quieter route.\u003c/p>\n\u003cp>Billed as the Notorious Wilco Brothers, a nod to the Byrds, Wilco played an all-acoustic two-hour set that pulled back the curtain on their audacious sound and oft-opaque stage presence. They did more than merely play stripped-down versions of their songs; they invited us into their world.\u003c/p>\n\u003cp>In a room so small that a nearby sneeze competed for ones’ attention, even the tiniest mistake from the stage would have nowhere to hide. While “Bull Black Nova,” a sprawling track from 2009’s \u003cem>Wilco (the Album)\u003c/em>, is typically engulfed in surging feedback and mountains of guitar effects, here Nels Cline’s solos were as spare as they were spastic, each note hanging with delicious clarity. Later, the sugary synthesizers on “I’m Always in Love” were replaced by a slide guitar and melodihorn to less impressive, but equally as daring, effect.\u003c/p>\n\u003cfigure id=\"attachment_10883481\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10883481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg\" alt=\"Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\" width=\"400\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN.jpg 867w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\u003c/figcaption>\u003c/figure>\n\u003cp>The changed format seemed to concern few, least of all frontman Jeff Tweedy, who sweated straight through his tan blazer and wore a grin all night. While these days Wilco often performs separated from their audience by barricades, they seemed glad to play for fans leaning on the Independent’s low stage just inches away — at one point, multi-instrumentalist Pat Sansone leaned back on his stool and almost collided with an audience member.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band’s unadorned, acoustic versions of songs from \u003cem>Star Wars\u003c/em>, the album Wilco surprise-released for free a couple of weeks ago, crackled with energy and confidence. With the addition of a banjo, the hulking glam-rock “More…” shifted its weight into a rollicking countrified gallop, and the blistering punch of “Pickled Ginger” somehow packed even more menace without the rifle crack of Glenn Kotche’s snare and Tweedy’s fuzzy distortion. The album’s closing track “Magnetized,” which leans heavily on a synth line that gurgles like a dishwasher full of fudge, proved to be the most captivating and inventive arrangement of the night, the void left by the massive synth making space to focus on the gentle cadence of Tweedy’s words. “I sleep beneath / a picture that I keep of you next to me / I realize we’re magnetized,” he declared, with all the heart-stopping bluntness of classics like “Via Chicago” and “I am Trying to Break Your Heart” (neither of which the band played last night).\u003c/p>\n\u003cp>Although Wilco interspersed this new material throughout the set, their encore was nothing but classics. In “Misunderstood,” Tweedy replaced the song’s howling, climactic mantra with a tender phrasing, before leading his band through the only unsurprising moment of the night: “California Stars.” “Sometimes the obvious choice is the best choice,” Tweedy quipped. “That’s why I’m supporting Trump 2016.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilco took their name from the radio shorthand for “Will comply,” which Tweedy readily admits is a bit of an ironic statement for a band that for over two decades hasn’t complied with much of anything. Wilco has surprised us at every turn, shifting from a punk-inflected roots-rock band into ’60s-indebted pop; delving into experimental noise on \u003cem>Yankee Hotel Foxtrot\u003c/em> and then back to a more conventional palette on \u003cem>Sky Blue Sky\u003c/em>; and most recently, the stark, sparse \u003cem>Star Wars\u003c/em>. Their show Thursday night at the Independent only confirmed that 20 years in, that name still means something. Wilco gave us what they wanted, and the results were euphoric.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While rock star Lenny Kravitz \u003ca href=\"http://www.hitfix.com/comedy/lenny-kravitz-hilariously-responds-to-wardrobe-malfunction-on-twitter\" target=\"_blank\" rel=\"noopener\">reminded us this week\u003c/a> of one unfortunate way musicians can expose themselves on stage, Wilco’s intimate performance last night at the Independent captured quite another.\u003c/p>\n\u003cp>It’s perhaps inevitable that a band acclimated to festivals and enormous theaters could feel a bit exposed at the Independent — a venue with a capacity of just over 400, which is probably the same amount of people who’ll be waiting in line to buy beer when the band takes the stage at \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> tonight. But Wilco (and opening act Vetiver, operating as a duo) handled the challenge spectacularly. Instead of bringing their arena-sized riffs and explosive walls of sound to the Independent, the Chicago six-piece opted for a quieter route.\u003c/p>\n\u003cp>Billed as the Notorious Wilco Brothers, a nod to the Byrds, Wilco played an all-acoustic two-hour set that pulled back the curtain on their audacious sound and oft-opaque stage presence. They did more than merely play stripped-down versions of their songs; they invited us into their world.\u003c/p>\n\u003cp>In a room so small that a nearby sneeze competed for ones’ attention, even the tiniest mistake from the stage would have nowhere to hide. While “Bull Black Nova,” a sprawling track from 2009’s \u003cem>Wilco (the Album)\u003c/em>, is typically engulfed in surging feedback and mountains of guitar effects, here Nels Cline’s solos were as spare as they were spastic, each note hanging with delicious clarity. Later, the sugary synthesizers on “I’m Always in Love” were replaced by a slide guitar and melodihorn to less impressive, but equally as daring, effect.\u003c/p>\n\u003cfigure id=\"attachment_10883481\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10883481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg\" alt=\"Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\" width=\"400\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN.jpg 867w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\u003c/figcaption>\u003c/figure>\n\u003cp>The changed format seemed to concern few, least of all frontman Jeff Tweedy, who sweated straight through his tan blazer and wore a grin all night. While these days Wilco often performs separated from their audience by barricades, they seemed glad to play for fans leaning on the Independent’s low stage just inches away — at one point, multi-instrumentalist Pat Sansone leaned back on his stool and almost collided with an audience member.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band’s unadorned, acoustic versions of songs from \u003cem>Star Wars\u003c/em>, the album Wilco surprise-released for free a couple of weeks ago, crackled with energy and confidence. With the addition of a banjo, the hulking glam-rock “More…” shifted its weight into a rollicking countrified gallop, and the blistering punch of “Pickled Ginger” somehow packed even more menace without the rifle crack of Glenn Kotche’s snare and Tweedy’s fuzzy distortion. The album’s closing track “Magnetized,” which leans heavily on a synth line that gurgles like a dishwasher full of fudge, proved to be the most captivating and inventive arrangement of the night, the void left by the massive synth making space to focus on the gentle cadence of Tweedy’s words. “I sleep beneath / a picture that I keep of you next to me / I realize we’re magnetized,” he declared, with all the heart-stopping bluntness of classics like “Via Chicago” and “I am Trying to Break Your Heart” (neither of which the band played last night).\u003c/p>\n\u003cp>Although Wilco interspersed this new material throughout the set, their encore was nothing but classics. In “Misunderstood,” Tweedy replaced the song’s howling, climactic mantra with a tender phrasing, before leading his band through the only unsurprising moment of the night: “California Stars.” “Sometimes the obvious choice is the best choice,” Tweedy quipped. “That’s why I’m supporting Trump 2016.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilco took their name from the radio shorthand for “Will comply,” which Tweedy readily admits is a bit of an ironic statement for a band that for over two decades hasn’t complied with much of anything. Wilco has surprised us at every turn, shifting from a punk-inflected roots-rock band into ’60s-indebted pop; delving into experimental noise on \u003cem>Yankee Hotel Foxtrot\u003c/em> and then back to a more conventional palette on \u003cem>Sky Blue Sky\u003c/em>; and most recently, the stark, sparse \u003cem>Star Wars\u003c/em>. Their show Thursday night at the Independent only confirmed that 20 years in, that name still means something. Wilco gave us what they wanted, and the results were euphoric.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218132185″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>'90s nostalgia rules the day. We miss that era of innocence and try to bring it back to life by \u003ca href=\"http://ww2.kqed.org/pop/2015/05/14/why-the-craft-remake-is-bad-news-for-the-future-of-film/\" target=\"_blank\">adapting classic movies\u003c/a> and \u003ca href=\"http://ww2.kqed.org/pop/2013/08/23/5-reasons-why-adapting-reality-bites-is-a-terrible-idea-winona-ryder-ben-stiller/\" target=\"_blank\">TV shows\u003c/a> and forcing beloved musical groups to reunite. One of the groups that gets hounded most is the Spice Girls.\u003c/p>\n\u003cp>They have, on several occasions, heard our call and given us what we wanted, what we really, really wanted. They most recently reunited for the closing ceremony of the 2012 Summer Olympics in London. They also collaborated on a West End musical called \u003cem>Viva Forever\u003c/em>. And then there was their glorious 2007 reunion tour, the first time the girls toured as a five-piece in America (you know, 'cause Geri bailed on them in 1998 without warning #notoveritandneverwillbe).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PArTdhNda7k\u003c/p>\n\u003cp>When the girls made it to California eight years ago, I flew down to LA to see them, not because they weren't playing a show much closer in San Jose, but because the historic moment felt like it deserved some sort of pilgrimage. I'm not even kidding.\u003c/p>\n\u003cp>My love for the Spice Girls has spanned 20 years, at this point. The greatest love of all might be the one you have with yourself (R.I.P. Whitney), but the second greatest love of all, for me, could very well be the one I have for the Spice Girls and everything they represent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What's so great about some cheesy girl group from forever ago? Basically everything, but since you probably want some specifics:\u003c/p>\n\u003cp>The Spice Girls were all about owning who you are and reveling in it. Their fun, catchy pop was full of positive affirmations and sometimes served as a vehicle for escape, at least it was for me, a gay kid growing up in a conservative Greek space that adheres to strict gender roles.\u003c/p>\n\u003cp>The Spice Girls also introduced me and a lot of other young fans to feminism. Granted, a very light, sugar-coated brand of feminism, but still. The main takeaway of \u003cem>Girl Power!\u003c/em> was that girls and women are equal to boys and men. Such a simple, yet revolutionary concept. Maybe some fans didn't completely get that, but many of us did and that's a wonderful thing to learn at a young age. They also honored and celebrated femininity and their sexualities in a time when no one else was really doing that on such a large scale.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17530\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\" alt=\"SPICE-GIRLS-FEMINISM\" width=\"500\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM-400x282.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>So, if you didn't already know, this is why fans get so excited when news of a Spice Girls reunion bubbles up. It isn't just because we like singing along to \"Wannabe\" or showing off the simple choreography we learned from the \"Stop\" music video. It's because these girls and their music helped us develop our ideas of who we are and how we treat each other.\u003c/p>\n\u003cp>Because the 20th anniversary of their first single is coming up, there's been speculation that the girls will do another tour or a one-off show or a single or something. Mel B fanned the flames this week by going on talk shows and saying things like, \"Hopefully, we’ll gather the troops around and we’ll get to do something to celebrate it next year. It's in my plan.\"\u003c/p>\n\u003cp>And earlier this week, some report claimed that the girls were plotting a comeback tour without Victoria Beckham a.k.a. Posh Spice. As we learned after Geri left (#grrr), it just isn't the Spice Girls without all five of them.\u003c/p>\n\u003cp>What do some of the other girls think of all of this noise?\u003c/p>\n\u003cp>It's all news to Melanie Chisholm and Emma Bunton (Sporty and Baby):\u003c/p>\n\u003cp>https://twitter.com/MelanieCmusic/status/629549703173140480\u003c/p>\n\u003cp>https://twitter.com/EmmaBunton/status/629554494603460608\u003c/p>\n\u003cp>Emma went on to say: \"Nothing's happening at the moment.\"\u003c/p>\n\u003cp>Now here's where I get controversial: I don't need a reunion. Yes, I am a super fan, love them an inordinate amount and would most likely see them again, given the opportunity. But they've already reunited for us several times. Even if they do another reunion tour, we'll just ask for another in three years.\u003c/p>\n\u003cp>We're insatiable. But more than that, we just don't know how to accept the end of something. With countless adaptations and reboots and reunions, we've lost our ability to just appreciate what was. We've come to believe that it's not enough for a movie, TV show or band to have made an impact at some point in the past; now we expect them to continue entertaining us, expiration dates be damned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So are the Spice Girls actually reuniting in 2016? Maybe, maybe not. The better question is why we keep insisting that they do.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>'90s nostalgia rules the day. We miss that era of innocence and try to bring it back to life by \u003ca href=\"http://ww2.kqed.org/pop/2015/05/14/why-the-craft-remake-is-bad-news-for-the-future-of-film/\" target=\"_blank\">adapting classic movies\u003c/a> and \u003ca href=\"http://ww2.kqed.org/pop/2013/08/23/5-reasons-why-adapting-reality-bites-is-a-terrible-idea-winona-ryder-ben-stiller/\" target=\"_blank\">TV shows\u003c/a> and forcing beloved musical groups to reunite. One of the groups that gets hounded most is the Spice Girls.\u003c/p>\n\u003cp>They have, on several occasions, heard our call and given us what we wanted, what we really, really wanted. They most recently reunited for the closing ceremony of the 2012 Summer Olympics in London. They also collaborated on a West End musical called \u003cem>Viva Forever\u003c/em>. And then there was their glorious 2007 reunion tour, the first time the girls toured as a five-piece in America (you know, 'cause Geri bailed on them in 1998 without warning #notoveritandneverwillbe).\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/PArTdhNda7k'\n title='//www.youtube.com/embed/PArTdhNda7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the girls made it to California eight years ago, I flew down to LA to see them, not because they weren't playing a show much closer in San Jose, but because the historic moment felt like it deserved some sort of pilgrimage. I'm not even kidding.\u003c/p>\n\u003cp>My love for the Spice Girls has spanned 20 years, at this point. The greatest love of all might be the one you have with yourself (R.I.P. Whitney), but the second greatest love of all, for me, could very well be the one I have for the Spice Girls and everything they represent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What's so great about some cheesy girl group from forever ago? Basically everything, but since you probably want some specifics:\u003c/p>\n\u003cp>The Spice Girls were all about owning who you are and reveling in it. Their fun, catchy pop was full of positive affirmations and sometimes served as a vehicle for escape, at least it was for me, a gay kid growing up in a conservative Greek space that adheres to strict gender roles.\u003c/p>\n\u003cp>The Spice Girls also introduced me and a lot of other young fans to feminism. Granted, a very light, sugar-coated brand of feminism, but still. The main takeaway of \u003cem>Girl Power!\u003c/em> was that girls and women are equal to boys and men. Such a simple, yet revolutionary concept. Maybe some fans didn't completely get that, but many of us did and that's a wonderful thing to learn at a young age. They also honored and celebrated femininity and their sexualities in a time when no one else was really doing that on such a large scale.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17530\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\" alt=\"SPICE-GIRLS-FEMINISM\" width=\"500\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM-400x282.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>So, if you didn't already know, this is why fans get so excited when news of a Spice Girls reunion bubbles up. It isn't just because we like singing along to \"Wannabe\" or showing off the simple choreography we learned from the \"Stop\" music video. It's because these girls and their music helped us develop our ideas of who we are and how we treat each other.\u003c/p>\n\u003cp>Because the 20th anniversary of their first single is coming up, there's been speculation that the girls will do another tour or a one-off show or a single or something. Mel B fanned the flames this week by going on talk shows and saying things like, \"Hopefully, we’ll gather the troops around and we’ll get to do something to celebrate it next year. It's in my plan.\"\u003c/p>\n\u003cp>And earlier this week, some report claimed that the girls were plotting a comeback tour without Victoria Beckham a.k.a. Posh Spice. As we learned after Geri left (#grrr), it just isn't the Spice Girls without all five of them.\u003c/p>\n\u003cp>What do some of the other girls think of all of this noise?\u003c/p>\n\u003cp>It's all news to Melanie Chisholm and Emma Bunton (Sporty and Baby):\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Emma went on to say: \"Nothing's happening at the moment.\"\u003c/p>\n\u003cp>Now here's where I get controversial: I don't need a reunion. Yes, I am a super fan, love them an inordinate amount and would most likely see them again, given the opportunity. But they've already reunited for us several times. Even if they do another reunion tour, we'll just ask for another in three years.\u003c/p>\n\u003cp>We're insatiable. But more than that, we just don't know how to accept the end of something. With countless adaptations and reboots and reunions, we've lost our ability to just appreciate what was. We've come to believe that it's not enough for a movie, TV show or band to have made an impact at some point in the past; now we expect them to continue entertaining us, expiration dates be damned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So are the Spice Girls actually reuniting in 2016? Maybe, maybe not. The better question is why we keep insisting that they do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Weekly Picks: San Jose Jazz, SNL's Youngest Comic, and More",
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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/2015/08/20150807tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Shout-Out:\u003c/strong> Of course, \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">The Do List Live\u003c/a>\u003c/strong> is the hottest ticket in town next week. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">Get your tickets here — it will sell out! \u003c/a>\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>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On a recent Saturday morning, Bay Area Beyoncé fans reveled in the rare opportunity to get down with the man behind some of Queen Bee’s fiercest dance moves.\u003c/p>\n\u003cp>With KQED video cameras rolling, Los Angeles-based professional choreographer James Alsop led participants through two high-energy dance classes, based on the stage choreography he helped create for the song \u003ca class=\"dfromytb\" href=\"https://www.youtube.com/watch?v=-zvbDkVkD0Y\" target=\"_blank\" rel=\"noopener\">“End of Time,”\u003c/a> from the Beyoncé album \u003cem>4\u003c/em>.\u003c/p>\n\u003cp>Alsop got his first big break with Bravo’s short-lived reality television show “Step It Up and Dance.” He went on to dance for Kelly Rowland, Jennifer Lopez, and Janelle Monáe. Then, in 2011, the Charlotte, North Carolina-native was tapped to create the choreography for Beyoncé’s “Run the World” music video. “The rest, as they say, is 300-million-views history,” says Alsop.\u003c/p>\n\u003cp>So why make the trek from Los Angeles to teach a group of mostly amateur dancers in the Bay? “I just \u003cem>love\u003c/em> to dance,” he says. And, as a choreographer, working behind the scenes of stardom, “you don’t really realize the impact your work has on everyday people’s lives, until you come here.”\u003c/p>\n\u003cp>At least one class participant, Mackenzie Conway, a San Francisco State grad with experience dancing in Bay Area musical theater, dreams of someday working as a professional tour dancer. But most people showed up that day to celebrate the artist they love, and her message of women’s empowerment and equality. And, of course, there was the opportunity to bust moves with other members of the BeyHive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The dances, the stomps, all the moves, it’s just really fierce,” says Richmond resident Symone Wilson. “You just let yourself go, no inhibitions, that’s what I love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The special master class was part of the Bay Area dance series \u003ca href=\"http://www.popstarbootycamp.com\" target=\"_blank\" rel=\"noopener\">PopStar Booty Camp\u003c/a>, founded by Marin County’s Carol Johnstone, former talent manager for world famous hip-hop dancers Les Twins. The camp has been bringing pop choreography to local dance fans since 2014, producing six-week programs that culminate in public performances at local music clubs.\u003c/p>\n\n",
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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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"marketplace": {
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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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"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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"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",
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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",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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