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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>East Bay dwellers: If you’re wary of those tired “Oakland is Brooklyn” comparisons, you’re not alone. The past few years of city folk landing in the East Bay after getting priced out of San Francisco has naturally led to more than a few breathless stories in the media about \u003cem>Oakland is hip now — check out all these new great bars and restaurants and happenings!\u003c/em>\u003c/p>\n\u003cp>In reality, as we East Bay natives know, our side of the Bay has always been cool. And, as September and October are the Bay Area’s real summer, it’s also hot — at least, about 10 degrees warmer than the city on a given day. Whether you’re on the lookout for thought-provoking theater, literary fetes, or live music that will keep you grooving into the wee hours, there’s something for you in the East Bay. Just keep it on the DL — we don’t need any more people to find out how good it is on this side.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917155\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg\" alt=\"Hiero Day 2012. (Photo courtesy Hieroglyphics)\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiero Day 2012. (Photo courtesy Hieroglyphics)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Hiero Day\u003c/b>\u003c/h3>\n\u003ch5>Sept. 7\u003cbr>\n3rd and Chestnut, Oakland, CA\u003cbr>\n\u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>What began as a humble, hip-hop-centric street party four years ago has grown into a behemoth — in the best possible way. Thrown by the guys from homegrown Oakland hip-hop label Hieroglyphics (home to Del the Funkee Homosapien and Souls of Mischief, among others), Hiero Day is one part daylong music festival, two parts celebration of all things Oakland. Family-friendly, with a lineup of independent artists espousing some very Bay Area values (The Coup, Zion I) in addition to national artists pushing the limits of what hip-hop can be (Chicago rapper Psalm One should be as big as Lauryn Hill), it all goes down around 3rd and Chestnut, with sponsor Linden Street Brewery as non-musical epicenter. Last year’s party drew more than 22,000 people — plus an unannounced Deltron set — so come armed with sunblock and ready for anything. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg\" alt=\"Edward Burtynsky.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10917322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover.jpg 850w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Edward Burtynsky. \u003ccite>((Courtesy Nicholas Metivier Gallery, Toronto / Rena Bransten Gallery, San Francisco))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Art/Act’: Edward Burtynsky\u003c/h3>\n\u003ch5>Opening Sept. 18\u003cbr>\nDavid Brower Center\u003cbr>\n\u003ca href=\"http://www.browercenter.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Photographer Edward Burtynsky, known for his arresting images of altered landscapes, is the recipient of the David Brower Center’s Art/Act Award, an honor bestowed upon established artists devoting their practice to activism through art. In this exhibition, Burtynsky presents aerial photos from his series \u003ci>Water\u003c/i>, images of once-wet areas rendered desolate and visually entrancing by drought. Included are photographs of the Colorado River Delta in Mexico, Shasta Lake Reservoir and the Salt River Pima-Maricopa Indian Reservation. Additional images from the series \u003ci>Shipbreaking\u003c/i>, \u003ci>Tailings and Oil\u003c/i> and \u003ci>Quarries\u003c/i> document the devastating effects of humankind’s activities on the natural world. (Sarah Hotchkiss) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917323\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png\" alt=\"Grace Jones performs at the Fox Theater Sept. 26.\" width=\"400\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png 665w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at the Fox Theater Sept. 26.\u003c/figcaption>\u003c/figure>\n\u003ch3>Grace Jones\u003c/h3>\n\u003ch5>Sept. 26\u003cbr>\nFox Theater\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Grace Jones burns in full androgynous Amazonian glory in \u003ca href=\"https://youtu.be/Wp5eCxlDWHo\">\u003cspan style=\"font-weight: 400\">this \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">1982 live neo- futuristic funk jam take on The Normal’s deadpan new wave classic “Warm Leatherette.” There’s the trademark glossy dark lipstick, the geometric flat-top, and those \u003c/span>\u003ca href=\"http://www.interviewmagazine.com/music/new-again-grace-jones/\">\u003cspan style=\"font-weight: 400\">eyes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hidden behind sunglasses. Whether as a model, new wave synth-head, \u003c/span>\u003ca href=\"https://youtu.be/GqJrhgX5ZtE\">\u003cspan style=\"font-weight: 400\">disco queen, \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">or lissome \u003c/span>\u003ca href=\"https://youtu.be/WPkhh5JytYE\">\u003cspan style=\"font-weight: 400\">foe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to Conan the Barbarian and James Bond, there’s no denying Miss Jones power. She’s written about her wildly stylish, iconoclastic, and influential life in a new memoir, out on September 29. Just before the book’s release, on Sept. 26, Jones brings her forceful presence to the Fox Theater. Latex, cigarettey monotone, and lasers shall ensue. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917153\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg\" alt=\"A still from 'Three to Infinity: Beyond Two Genders'\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Three to Infinity: Beyond Two Genders’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Three to Infinity: Beyond Two Genders\u003c/em>\u003c/h3>\n\u003ch5>Oct. 3\u003cbr>\nThe New Parkway\u003cbr>\n\u003ca href=\"http://thenewparkway.com/wp/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>With gay marriage finally legal in every state, it might seem that things are finally evening out for the LGBT community — until, of course, you consider the discrimination and dangers faced by trans people on a daily basis. Lonny Shavelson’s documentary explores the world of people who “identify as neither male nor female: agender, gender neutral, gender queer, and more.” At this screening, part of the New Parkway’s ongoing “Appreciating Diversity” film series, you might be surprised: viewers of all ages — and, naturally, all genders — will likely find someone in this film whose struggles feel all too familiar. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917426\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917426\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png\" alt=\"Gang of Four plays the New Parish in Oakland Oct. 17.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gang of Four plays the New Parish in Oakland Oct. 17.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gang of Four\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nThe New Parish\u003cbr>\n\u003ca href=\"http://thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>It’s amazing to think that at one time in our history, a band like Gang Of Four would sell enough records to be a hit today. Tagged with the purposefully non-descriptive genre of “post-punk,” Gang Of Four led the charge of bringing punk out of the rock world and made it more intellectual. Keeping the Do-It-Yourself mindset at the forefront, they incorporated funky bass lines, jagged guitar riffs and aggressively political lyrics into punk, paving the way for other noteworthy bands such as the Pop Group, Delta 5, and The Birthday Party. As angular and in your face as the Gang of Four was, they influenced musicians varying from Flea of the Red Hot Chili Peppers to R.E.M.’s Michael Stipe. They reunited back in 2004, though nowadays guitarist Andy Gill is the only original member still playing with them. But a quick look at \u003ca href=\"https://www.youtube.com/watch?v=-vtFxiGrlLc\" target=\"_blank\" rel=\"noopener\">recent performances on YouTube,\u003c/a> and it’s obvious that they can still tap into the anger and confidence of their youth. (Kevin L. Jones) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10923025\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10923025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg\" alt=\"Ayad Akhtar's Pulitzer Prize-winning 'Disgraced' is the highlight of the Fall season at the Berkeley Rep.\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar’s Pulitzer Prize-winning ‘Disgraced’ is the highlight of the Fall season at the Berkeley Rep.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Disgraced\u003c/em>\u003c/h3>\n\u003ch5>Opens Nov. 6\u003cbr>\nBerkeley Repertory Theatre\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>At a time when Republican presidential candidates like Sen. Ted Cruz seem intent on wielding the phrase “radical Islamic terrorism” like a cudgel, Ayad Akhtar’s Pulitzer Prize-winning one-act drama about identity, assimilation, and the Islamophobia hiding behind the comforts of the American Dream seems more relevant than ever. Amir Kapoor is a successful American-born Muslim mergers and acquisitions lawyer, his white wife Emily an artist whose art is touched by Islamic images and ideas. Distanced by his work from the religion he was raised in, Amir makes an unofficial court appearance in support of a local NYC imam who seems to be unjustly imprisoned for financing terrorist-supporting groups. It’s not exactly the stuff of silkily smooth dinner conversation when Amir invites an African American colleague home to dinner, along with her Jewish art dealer husband and the talk turns to racial profiling, faith, and trust in post-9/11 America. The hope, no doubt, is that the conversation continues beyond the confines of the stage when \u003ci>\u003cspan style=\"font-weight: 400\">Disgraced\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> makes its West Coast premiere at Berkeley Rep. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cp>\u003cb>Other fairs, fests, and events worth a look:\u003c/b>\u003c/p>\n\u003cp>Every Tuesday in September: The Seshen residency at Leo’s Music Club, Oakland\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opening Sept. 16: \u003c/span>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/public-works-artists-interventions-1970s-now/\">\u003cspan style=\"font-weight: 400\">Public Works: Artists’ Interventions 1970s–Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Mills College, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through Sept. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Shotgun Players present ‘Eurydice,’ \u003c/a>Berkeley\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 18 – 20: \u003ca href=\"http://eatrealfest.com/\" target=\"_blank\" rel=\"noopener\">Eat Real Festival\u003c/a>, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 26: \u003ca href=\"http://www.bayareabluesfestival.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival\u003c/a>, Martinez\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oct. 14: \u003ca href=\"http://thenewparish.com/event.cfm?id=216805\" target=\"_blank\" rel=\"noopener\">Todd Barry\u003c/a> performs at the New Parish, Oakland\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oct. 17: \u003ca href=\"http://www.apeconcerts.com/event/938997-neil-young-promise-real-berkeley/\" target=\"_blank\" rel=\"noopener\">Neil Young \u003c/a>performs at the Greek Theatre, Berkeley\u003c/span>\u003c/p>\n\n",
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"title": "Head East: Six Reasons Why Across the Bay is the Place to Be This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>East Bay dwellers: If you’re wary of those tired “Oakland is Brooklyn” comparisons, you’re not alone. The past few years of city folk landing in the East Bay after getting priced out of San Francisco has naturally led to more than a few breathless stories in the media about \u003cem>Oakland is hip now — check out all these new great bars and restaurants and happenings!\u003c/em>\u003c/p>\n\u003cp>In reality, as we East Bay natives know, our side of the Bay has always been cool. And, as September and October are the Bay Area’s real summer, it’s also hot — at least, about 10 degrees warmer than the city on a given day. Whether you’re on the lookout for thought-provoking theater, literary fetes, or live music that will keep you grooving into the wee hours, there’s something for you in the East Bay. Just keep it on the DL — we don’t need any more people to find out how good it is on this side.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917155\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg\" alt=\"Hiero Day 2012. (Photo courtesy Hieroglyphics)\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiero Day 2012. (Photo courtesy Hieroglyphics)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Hiero Day\u003c/b>\u003c/h3>\n\u003ch5>Sept. 7\u003cbr>\n3rd and Chestnut, Oakland, CA\u003cbr>\n\u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>What began as a humble, hip-hop-centric street party four years ago has grown into a behemoth — in the best possible way. Thrown by the guys from homegrown Oakland hip-hop label Hieroglyphics (home to Del the Funkee Homosapien and Souls of Mischief, among others), Hiero Day is one part daylong music festival, two parts celebration of all things Oakland. Family-friendly, with a lineup of independent artists espousing some very Bay Area values (The Coup, Zion I) in addition to national artists pushing the limits of what hip-hop can be (Chicago rapper Psalm One should be as big as Lauryn Hill), it all goes down around 3rd and Chestnut, with sponsor Linden Street Brewery as non-musical epicenter. Last year’s party drew more than 22,000 people — plus an unannounced Deltron set — so come armed with sunblock and ready for anything. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg\" alt=\"Edward Burtynsky.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10917322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover.jpg 850w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Edward Burtynsky. \u003ccite>((Courtesy Nicholas Metivier Gallery, Toronto / Rena Bransten Gallery, San Francisco))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Art/Act’: Edward Burtynsky\u003c/h3>\n\u003ch5>Opening Sept. 18\u003cbr>\nDavid Brower Center\u003cbr>\n\u003ca href=\"http://www.browercenter.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Photographer Edward Burtynsky, known for his arresting images of altered landscapes, is the recipient of the David Brower Center’s Art/Act Award, an honor bestowed upon established artists devoting their practice to activism through art. In this exhibition, Burtynsky presents aerial photos from his series \u003ci>Water\u003c/i>, images of once-wet areas rendered desolate and visually entrancing by drought. Included are photographs of the Colorado River Delta in Mexico, Shasta Lake Reservoir and the Salt River Pima-Maricopa Indian Reservation. Additional images from the series \u003ci>Shipbreaking\u003c/i>, \u003ci>Tailings and Oil\u003c/i> and \u003ci>Quarries\u003c/i> document the devastating effects of humankind’s activities on the natural world. (Sarah Hotchkiss) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917323\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png\" alt=\"Grace Jones performs at the Fox Theater Sept. 26.\" width=\"400\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png 665w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at the Fox Theater Sept. 26.\u003c/figcaption>\u003c/figure>\n\u003ch3>Grace Jones\u003c/h3>\n\u003ch5>Sept. 26\u003cbr>\nFox Theater\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Grace Jones burns in full androgynous Amazonian glory in \u003ca href=\"https://youtu.be/Wp5eCxlDWHo\">\u003cspan style=\"font-weight: 400\">this \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">1982 live neo- futuristic funk jam take on The Normal’s deadpan new wave classic “Warm Leatherette.” There’s the trademark glossy dark lipstick, the geometric flat-top, and those \u003c/span>\u003ca href=\"http://www.interviewmagazine.com/music/new-again-grace-jones/\">\u003cspan style=\"font-weight: 400\">eyes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hidden behind sunglasses. Whether as a model, new wave synth-head, \u003c/span>\u003ca href=\"https://youtu.be/GqJrhgX5ZtE\">\u003cspan style=\"font-weight: 400\">disco queen, \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">or lissome \u003c/span>\u003ca href=\"https://youtu.be/WPkhh5JytYE\">\u003cspan style=\"font-weight: 400\">foe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to Conan the Barbarian and James Bond, there’s no denying Miss Jones power. She’s written about her wildly stylish, iconoclastic, and influential life in a new memoir, out on September 29. Just before the book’s release, on Sept. 26, Jones brings her forceful presence to the Fox Theater. Latex, cigarettey monotone, and lasers shall ensue. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917153\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg\" alt=\"A still from 'Three to Infinity: Beyond Two Genders'\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Three to Infinity: Beyond Two Genders’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Three to Infinity: Beyond Two Genders\u003c/em>\u003c/h3>\n\u003ch5>Oct. 3\u003cbr>\nThe New Parkway\u003cbr>\n\u003ca href=\"http://thenewparkway.com/wp/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>With gay marriage finally legal in every state, it might seem that things are finally evening out for the LGBT community — until, of course, you consider the discrimination and dangers faced by trans people on a daily basis. Lonny Shavelson’s documentary explores the world of people who “identify as neither male nor female: agender, gender neutral, gender queer, and more.” At this screening, part of the New Parkway’s ongoing “Appreciating Diversity” film series, you might be surprised: viewers of all ages — and, naturally, all genders — will likely find someone in this film whose struggles feel all too familiar. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917426\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917426\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png\" alt=\"Gang of Four plays the New Parish in Oakland Oct. 17.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gang of Four plays the New Parish in Oakland Oct. 17.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gang of Four\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nThe New Parish\u003cbr>\n\u003ca href=\"http://thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>It’s amazing to think that at one time in our history, a band like Gang Of Four would sell enough records to be a hit today. Tagged with the purposefully non-descriptive genre of “post-punk,” Gang Of Four led the charge of bringing punk out of the rock world and made it more intellectual. Keeping the Do-It-Yourself mindset at the forefront, they incorporated funky bass lines, jagged guitar riffs and aggressively political lyrics into punk, paving the way for other noteworthy bands such as the Pop Group, Delta 5, and The Birthday Party. As angular and in your face as the Gang of Four was, they influenced musicians varying from Flea of the Red Hot Chili Peppers to R.E.M.’s Michael Stipe. They reunited back in 2004, though nowadays guitarist Andy Gill is the only original member still playing with them. But a quick look at \u003ca href=\"https://www.youtube.com/watch?v=-vtFxiGrlLc\" target=\"_blank\" rel=\"noopener\">recent performances on YouTube,\u003c/a> and it’s obvious that they can still tap into the anger and confidence of their youth. (Kevin L. Jones) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10923025\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10923025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg\" alt=\"Ayad Akhtar's Pulitzer Prize-winning 'Disgraced' is the highlight of the Fall season at the Berkeley Rep.\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar’s Pulitzer Prize-winning ‘Disgraced’ is the highlight of the Fall season at the Berkeley Rep.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Disgraced\u003c/em>\u003c/h3>\n\u003ch5>Opens Nov. 6\u003cbr>\nBerkeley Repertory Theatre\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>At a time when Republican presidential candidates like Sen. Ted Cruz seem intent on wielding the phrase “radical Islamic terrorism” like a cudgel, Ayad Akhtar’s Pulitzer Prize-winning one-act drama about identity, assimilation, and the Islamophobia hiding behind the comforts of the American Dream seems more relevant than ever. Amir Kapoor is a successful American-born Muslim mergers and acquisitions lawyer, his white wife Emily an artist whose art is touched by Islamic images and ideas. Distanced by his work from the religion he was raised in, Amir makes an unofficial court appearance in support of a local NYC imam who seems to be unjustly imprisoned for financing terrorist-supporting groups. It’s not exactly the stuff of silkily smooth dinner conversation when Amir invites an African American colleague home to dinner, along with her Jewish art dealer husband and the talk turns to racial profiling, faith, and trust in post-9/11 America. The hope, no doubt, is that the conversation continues beyond the confines of the stage when \u003ci>\u003cspan style=\"font-weight: 400\">Disgraced\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> makes its West Coast premiere at Berkeley Rep. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cp>\u003cb>Other fairs, fests, and events worth a look:\u003c/b>\u003c/p>\n\u003cp>Every Tuesday in September: The Seshen residency at Leo’s Music Club, Oakland\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opening Sept. 16: \u003c/span>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/public-works-artists-interventions-1970s-now/\">\u003cspan style=\"font-weight: 400\">Public Works: Artists’ Interventions 1970s–Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Mills College, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through Sept. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Shotgun Players present ‘Eurydice,’ \u003c/a>Berkeley\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 18 – 20: \u003ca href=\"http://eatrealfest.com/\" target=\"_blank\" rel=\"noopener\">Eat Real Festival\u003c/a>, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 26: \u003ca href=\"http://www.bayareabluesfestival.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival\u003c/a>, Martinez\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oct. 14: \u003ca href=\"http://thenewparish.com/event.cfm?id=216805\" target=\"_blank\" rel=\"noopener\">Todd Barry\u003c/a> performs at the New Parish, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Did you hate your high school formal or just want to relive your teenage glory? Well, you’re in luck! Bust out your corsages and boutonnieres because we're throwing a high school dance party in honor of our brand new podcast, \u003cem>The Cooler\u003c/em>, which launches September 16th!\u003c/p>\n\u003cp>My cohosts (Jamedra Brown Fleischman and Carly Severn) and I will be taking the stage on September 22nd at The Chapel for a live podcast taping with:\u003c/p>\n\u003cp>Comedy from \u003ca href=\"http://www.wkamaubell.com/\" rel=\"nofollow\">W. Kamau Bell\u003c/a>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WH7b4QCPuXc\u003c/p>\n\u003cp>Vogueing by \u003ca href=\"https://www.facebook.com/VogueTone\" rel=\"nofollow\">Jocquese Whitfield\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9BPcmmthP20\u003c/p>\n\u003cp>And music by \u003ca href=\"https://www.facebook.com/brontez.purnell\" rel=\"nofollow\">Brontez Purnell\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=DHau4cOdgp0\" rel=\"nofollow\">Younger Lovers\u003c/a>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84OK_3nTszA\u003c/p>\n\u003cp>There will also be live portrait drawing by \u003ca href=\"https://twitter.com/cobratalon\" target=\"_blank\">Thien Pham\u003c/a>, an awkward photo booth for you and your date, and a night of dancing to the best high school dance music from 1990-2005!\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/kqed-pop-presents-the-cooler-podcast-tickets-18457623248\" target=\"_blank\">Buy your tickets now!\u003c/a>\u003c/p>\n\u003cp>And if you have any good stories about high school dances, send 'em to pop@kqed.org. We might feature them at the event and on our podcast!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See y'all on September 22nd!\u003c/p>\n\n",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hardly-strictly-bluegrass-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Hardly Strictly Bluegrass Festival 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Free music, no corporate sponsorship, hundreds of thousands of people.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 2–4\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hardly-strictly-bluegrass-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The annual \u003ca href=\"http://www.hardlystrictlybluegrass.com/2015/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a> returns for a 15th year this October, and for us, it always calls to mind the early years when the free event was somewhat rigidly called the “Strictly Bluegrass Festival.”\u003c/p>\n\u003cp>Luckily, in 2004, founder Warren Hellman saw fit to expand the styles on offer at Golden Gate Park, and agreed to change the name to “Hardly Strictly Bluegrass.” Last year alone saw sets by SoCal greaser-punks Social Distortion, futuristic hip-hop orchestra Deltron 3030, twee art-rockers Cibo Matto and lo-fi indie stalwarts Yo La Tengo.\u003c/p>\n\u003cp>The 2015 lineup — with reliable returnees like Ralph Stanley, Gillian Welch, Emmylou Harris \u003ca href=\"http://www.hardlystrictlybluegrass.com/2015/\" target=\"_blank\" rel=\"noopener\">and more\u003c/a> — already includes some outliers who could hardly be classified as bluegrass. And that’s fine with us.\u003c/p>\n\u003ch3>1. Flogging Molly\u003c/h3>\n\u003cp>It’s a miracle that the Pogues’ Shane MacGowan is still alive, and it’s a shame that he doesn’t make it to the U.S. more often from Ireland. Filling the anarchic, drinking-anthem void are Flogging Molly — a band with a banjo, sure, but a group that would never be filed in the bluegrass section.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=89NjEeHku8o\u003c/p>\n\u003ch3>2. Charles Bradley\u003c/h3>\n\u003cp>This soul belter has performed in Golden Gate Park before, backed by the tight rhythms of the Menahan Street Band, at Outside Lands. He’ll transfix the Hardly Strictly crowd, no doubt, and offer the festival a heartfelt pang amidst all the weekend’s twang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=moiUyFQQE-0\u003c/p>\n\u003ch3>3. Paul Weller\u003c/h3>\n\u003cp>Even though his solo material has been frequent and robust, Weller will always be affiliated with the Jam — and that London power-punk band’s enduring hits like “In the City,” “All Around the World,” “That’s Entertainment” and “Start!” Expect a rave-up of singing along in accents more British than Southern.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yNfCdTE4Ly4\u003c/p>\n\u003ch3>4. Chicano Batman\u003c/h3>\n\u003cp>Whittier Blvd. is a long way from the deep south’s Highway 61, and with a completely different style — at least in the 1970s, the lowrider era from which this polyester-clad Latino soul group takes inspiration. If only a parade of ’64 Impalas could split the crowd during their set, like Moses parting the Red Sea.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sn89CRaW6H0\u003c/p>\n\u003ch3>5. Joe Jackson\u003c/h3>\n\u003cp>There’s no doubt Jackson has diverse taste — his recent listening habits include Oscar Peterson and Hank Williams, and we last saw him in the Bay Area singing Joni Mitchell’s “Big Yellow Taxi” and playing boogie-woogie piano. Who knows what he’ll do in Golden Gate Park, but it’s not likely to be bluegrass. Or maybe a mandolin-and-fiddle version of “Sunday Papers”?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KW0fZXWNtp0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\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/moiUyFQQE-0'\n title='//www.youtube.com/embed/moiUyFQQE-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>3. Paul Weller\u003c/h3>\n\u003cp>Even though his solo material has been frequent and robust, Weller will always be affiliated with the Jam — and that London power-punk band’s enduring hits like “In the City,” “All Around the World,” “That’s Entertainment” and “Start!” Expect a rave-up of singing along in accents more British than Southern.\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/yNfCdTE4Ly4'\n title='//www.youtube.com/embed/yNfCdTE4Ly4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>4. Chicano Batman\u003c/h3>\n\u003cp>Whittier Blvd. is a long way from the deep south’s Highway 61, and with a completely different style — at least in the 1970s, the lowrider era from which this polyester-clad Latino soul group takes inspiration. If only a parade of ’64 Impalas could split the crowd during their set, like Moses parting the Red Sea.\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/Sn89CRaW6H0'\n title='//www.youtube.com/embed/Sn89CRaW6H0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>5. Joe Jackson\u003c/h3>\n\u003cp>There’s no doubt Jackson has diverse taste — his recent listening habits include Oscar Peterson and Hank Williams, and we last saw him in the Bay Area singing Joni Mitchell’s “Big Yellow Taxi” and playing boogie-woogie piano. Who knows what he’ll do in Golden Gate Park, but it’s not likely to be bluegrass. Or maybe a mandolin-and-fiddle version of “Sunday Papers”?\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/KW0fZXWNtp0'\n title='//www.youtube.com/embed/KW0fZXWNtp0'\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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"slug": "searching-for-music-in-the-south-bay-leads-to-great-discoveries",
"title": "Searching For Music in the South Bay Leads To Great Discoveries",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When it comes to technology, Silicon Valley exerts an out-sized influence on world culture. At home, the South Bay’s cultural offerings are less than robust, especially when it comes to music. Yet there is a scene there, if you look for it. For music lovers in the South Bay, the problem isn’t that there’s nothing going down; it’s knowing where to look.\u003c/p>\n\u003cp>On any given night the most interesting gigs might be happening at a comic book store, a Masonic lodge, or a restaurant devoted to the legacy of \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Rahsaan Roland Kirk\u003c/a>, the blind saxophone player known for playing three horns simultaneously. And for those who enjoy variety in their acts as well as their venues, the fall brings an international array of acts to the South Bay, from a soul diva with East African roots to a Brazilian guitar star.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921151\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Slime-Girls-400x267.jpg\" alt=\"Slime Girls\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Slime Girls\u003c/figcaption>\u003c/figure>\n\u003ch3>Freq.Fest.Norcal\u003c/h3>\n\u003ch5>Sept. 11-12\u003cbr>\n\u003ca href=\"https://www.facebook.com/artboutikisj\" target=\"_blank\" rel=\"noopener\">The Art Boutiki\u003c/a>, 44 Race St., San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1437906803017503/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>8bitLA presents the inaugural edition of Freq.Fest.Norcal, a northern annex of LA’s annual chiptune festival. Each night features a diverse array of nine acts dedicated to creating music from the bips, beeps, bleeps and tones from vintage video game consoles, computers, and arcade games, including Pedro Silva’s Slime Girls, the San Jose duo Curious Quail, and chiptune master Moran Tucker and vocalist Keiko Takamura’s Crashfaster.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921064\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Rogerio1-400x267.jpg\" alt=\"Rogério Souza\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rogério Souza\u003c/figcaption>\u003c/figure>\n\u003ch3>Rogério Souza and Edinho Gerber\u003c/h3>\n\u003ch5>Sept. 24\u003cbr>\nCafé Pink House, 14577 Big Basin Way, Saratoga\u003cbr>\n\u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>When it comes to guitar, no country has produced a more luxuriant body of music than Brazil. Hailing from Rio de Janeiro, Rogério Souza is a seven-string wizard who has collaborated with an astounding roster of Brazilian stars. He’s been at the forefront of a movement reviving the instrumental style known as choro, and he’s joined here by fellow Brazilian guitar master Edinho Gerber and the Bay Area’s \u003ca href=\"http://www.grupofalsobaiano.com\" target=\"_blank\" rel=\"noopener\">Grupo Falso Baiano\u003c/a>, a combo devoted to choro and samba.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921066\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-400x267.jpg\" alt=\"Darcy James Argue\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1.jpg 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Darcy James Argue\u003c/figcaption>\u003c/figure>\n\u003ch3>Darcy James Argue “Real Enemies”\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2015/darcy-james-argues-real-enemies\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>Given that Canadian-born composer/arranger Darcy James Argue named his award-winning big band the Secret Society, it’s not surprising that the New York ensemble’s collaboration with writer/director Isaac Butler, Real Enemies, is devoted to investigating contemporary conspiracy theories. Featuring a stellar array of East Coast talent, including reed expert John Ellis, trumpeter Jason Palmer, and SF-raised trombonist/tubist \u003ca href=\"http://jacobgarchik.com\" target=\"_blank\" rel=\"noopener\">Jacob Garchick\u003c/a>, the paranoia-laced score draws loosely on 12-tone technique as well as the film scores of Michael Small and David Shire, Nicaraguan singer-songwriter Carlos Mejia Godoy, early 1980s LA electrofunk-influenced hip hop, and much more.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921152\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px-400x244.jpg\" alt=\"Somi\" width=\"400\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Somi\u003c/figcaption>\u003c/figure>\n\u003ch3>Somi\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nKuumbwa Jazz Center, 320 Cedar St., Santa Cruz\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/7pm-somi/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>As the daughter of immigrant parents from Rwanda and Uganda, Somi is an American-born jazz singer who has found inspiration in the rhythms and cadences of East and West Africa. Her latest album \u003cem>The Lagos Music Salon\u003c/em> (OKeh) resulted from an 18-month sojourn to Lagos, and she taps into the fervent and resourceful creativity of Nigeria’s teeming capital. Possessing a luscious voice and intrepid musical spirit, she’s keeping exceptional company on the bandstand, including the brilliant guitarist \u003ca href=\"http://www.libertyellman.com\" target=\"_blank\" rel=\"noopener\">Liberty Ellman\u003c/a>, a standout on the 1990s Bay Area jazz scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921067\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-400x357.jpg\" alt=\"Alice Gerrard\" width=\"400\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-400x357.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-673x600.jpg 673w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-1180x1052.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-1920x1712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-960x856.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alice Gerrard\u003c/figcaption>\u003c/figure>\n\u003ch3>Piedmont Melody Makers with Alice Gerrard\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nMountain View Masonic Lodge, 890 Church St.\u003cbr>\n\u003ca href=\"http://www.rba.org\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"http://www.alicegerrard.com\" target=\"_blank\" rel=\"noopener\">Alice Gerrard,\u003c/a> 80, is bluegrass and old-time music icon who released one of her finest albums last year, \u003cem>Follow the Music\u003c/em>. She’s outlived most of the artists with whom she so memorably collaborated, like Hazel Dickens and her then-husband Mike Seeger, but Gerrard soldiers on, singing traditional and original songs filled with unspeakable ache and beatific joy. She’s touring with the Piedmont Melody Makers, featuring Chris Brashear on fiddle, guitar and vocals, Jim Watson on mandolin, bass and vocals, and Cliff Hale on vocals and guitar.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921065\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-400x268.jpg\" alt=\"Tessa Souter\" width=\"400\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-960x643.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Souter\u003c/figcaption>\u003c/figure>\n\u003ch3>Tessa Souter\u003c/h3>\n\u003ch5>Oct. 24\u003cbr>\nCafé Pink House, 14577 Big Basin Way, Saratoga\u003cbr>\n\u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>New York jazz vocalist \u003ca href=\"http://tessasouter.com\" target=\"_blank\" rel=\"noopener\">Tessa Souter\u003c/a> is known for finding material unaccountably overlooked by other artists. On this rare trip back to the Bay Area (she lived in San Francisco in the 1990s, working as a journalist and helping found the \u003ca href=\"http://www.sfgrotto.org\" target=\"_blank\" rel=\"noopener\">Writer’s Grotto\u003c/a>), the London-born singer is focusing on music from her upcoming album based on her discovery at the age of 30 that her father wasn’t a white Spaniard but a black Trinidadian. Whatever material she explores, Souter is a beguiling artist who infuses everything she interprets with voluptuous intelligence and keen emotional insight.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921070\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-400x267.jpg\" alt=\"Kim Nalley\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley\u003c/h3>\n\u003ch5>Nov. 12\u003cbr>\nKuumbwa Jazz Center, 320 Cedar St., Santa Cruz\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>San Francisco jazz and blues vocalist \u003ca href=\"http://www.kimnalley.net\" target=\"_blank\" rel=\"noopener\">Kim Nalley\u003c/a> celebrates the release of her powerhouse new album \u003cem>Blues People\u003c/em>, a project that veers from outrage to the outrageous without missing a beat. There’s nobody better at delivering bawdy, blush-inducing erotica like “Trombone Song (Big Long Sliding Thing),” but Nalley is equally commanding channeling her anger over the killing of Trayvon Martin in her original “Big Hooded Black Man.” Amidst the sex and violence, Nalley offers glimpses of redemption, from hymns (“Amazing Grace”), spirituals (“Trouble of the World”), and a fantastic gospel version of The Jefferson’s theme “Movin’ On Up.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>Runners Up\u003c/h2>\n\u003ch3>Edmar Castaneda\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nKuumbwa Jazz Center, 320 Cedar St., Santa Cruz\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/7pm-edmar-castaneda/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003ch3>California Banjo Extravaganza\u003c/h3>\n\u003ch5>Nov. 14\u003cbr>\nEtz Chaiyim Hall, 4161 Alma St., Palo Alto\u003cbr>\n\u003ca href=\"http://www.rba.org/#CBE\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003ch3>Kayhan Kalhor and Erdal Erzincan\u003c/h3>\n\u003ch5>Nov. 22\u003cbr>\nMontalvo Arts Center, 15400 Montalvo Rd., Saratoga\u003cbr>\n\u003ca href=\"http://montalvoarts.org/events/kayhan_kalhor_erdal_erzincan/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When it comes to technology, Silicon Valley exerts an out-sized influence on world culture. At home, the South Bay’s cultural offerings are less than robust, especially when it comes to music. Yet there is a scene there, if you look for it. For music lovers in the South Bay, the problem isn’t that there’s nothing going down; it’s knowing where to look.\u003c/p>\n\u003cp>On any given night the most interesting gigs might be happening at a comic book store, a Masonic lodge, or a restaurant devoted to the legacy of \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Rahsaan Roland Kirk\u003c/a>, the blind saxophone player known for playing three horns simultaneously. And for those who enjoy variety in their acts as well as their venues, the fall brings an international array of acts to the South Bay, from a soul diva with East African roots to a Brazilian guitar star.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921151\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Slime-Girls-400x267.jpg\" alt=\"Slime Girls\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Slime-Girls.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Slime Girls\u003c/figcaption>\u003c/figure>\n\u003ch3>Freq.Fest.Norcal\u003c/h3>\n\u003ch5>Sept. 11-12\u003cbr>\n\u003ca href=\"https://www.facebook.com/artboutikisj\" target=\"_blank\" rel=\"noopener\">The Art Boutiki\u003c/a>, 44 Race St., San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1437906803017503/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>8bitLA presents the inaugural edition of Freq.Fest.Norcal, a northern annex of LA’s annual chiptune festival. Each night features a diverse array of nine acts dedicated to creating music from the bips, beeps, bleeps and tones from vintage video game consoles, computers, and arcade games, including Pedro Silva’s Slime Girls, the San Jose duo Curious Quail, and chiptune master Moran Tucker and vocalist Keiko Takamura’s Crashfaster.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921064\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Rogerio1-400x267.jpg\" alt=\"Rogério Souza\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rogerio1-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rogério Souza\u003c/figcaption>\u003c/figure>\n\u003ch3>Rogério Souza and Edinho Gerber\u003c/h3>\n\u003ch5>Sept. 24\u003cbr>\nCafé Pink House, 14577 Big Basin Way, Saratoga\u003cbr>\n\u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>When it comes to guitar, no country has produced a more luxuriant body of music than Brazil. Hailing from Rio de Janeiro, Rogério Souza is a seven-string wizard who has collaborated with an astounding roster of Brazilian stars. He’s been at the forefront of a movement reviving the instrumental style known as choro, and he’s joined here by fellow Brazilian guitar master Edinho Gerber and the Bay Area’s \u003ca href=\"http://www.grupofalsobaiano.com\" target=\"_blank\" rel=\"noopener\">Grupo Falso Baiano\u003c/a>, a combo devoted to choro and samba.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921066\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-400x267.jpg\" alt=\"Darcy James Argue\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Argue_BAMcafe2-1.jpg 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Darcy James Argue\u003c/figcaption>\u003c/figure>\n\u003ch3>Darcy James Argue “Real Enemies”\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2015/darcy-james-argues-real-enemies\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>Given that Canadian-born composer/arranger Darcy James Argue named his award-winning big band the Secret Society, it’s not surprising that the New York ensemble’s collaboration with writer/director Isaac Butler, Real Enemies, is devoted to investigating contemporary conspiracy theories. Featuring a stellar array of East Coast talent, including reed expert John Ellis, trumpeter Jason Palmer, and SF-raised trombonist/tubist \u003ca href=\"http://jacobgarchik.com\" target=\"_blank\" rel=\"noopener\">Jacob Garchick\u003c/a>, the paranoia-laced score draws loosely on 12-tone technique as well as the film scores of Michael Small and David Shire, Nicaraguan singer-songwriter Carlos Mejia Godoy, early 1980s LA electrofunk-influenced hip hop, and much more.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921152\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px-400x244.jpg\" alt=\"Somi\" width=\"400\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/somi_bw0a1775a_983px.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Somi\u003c/figcaption>\u003c/figure>\n\u003ch3>Somi\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nKuumbwa Jazz Center, 320 Cedar St., Santa Cruz\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/7pm-somi/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>As the daughter of immigrant parents from Rwanda and Uganda, Somi is an American-born jazz singer who has found inspiration in the rhythms and cadences of East and West Africa. Her latest album \u003cem>The Lagos Music Salon\u003c/em> (OKeh) resulted from an 18-month sojourn to Lagos, and she taps into the fervent and resourceful creativity of Nigeria’s teeming capital. Possessing a luscious voice and intrepid musical spirit, she’s keeping exceptional company on the bandstand, including the brilliant guitarist \u003ca href=\"http://www.libertyellman.com\" target=\"_blank\" rel=\"noopener\">Liberty Ellman\u003c/a>, a standout on the 1990s Bay Area jazz scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921067\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-400x357.jpg\" alt=\"Alice Gerrard\" width=\"400\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-400x357.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-673x600.jpg 673w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-1180x1052.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-1920x1712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Alice-Gerrard_7865_HiRes_by-Irene-Young-e1441175158508-960x856.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alice Gerrard\u003c/figcaption>\u003c/figure>\n\u003ch3>Piedmont Melody Makers with Alice Gerrard\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nMountain View Masonic Lodge, 890 Church St.\u003cbr>\n\u003ca href=\"http://www.rba.org\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"http://www.alicegerrard.com\" target=\"_blank\" rel=\"noopener\">Alice Gerrard,\u003c/a> 80, is bluegrass and old-time music icon who released one of her finest albums last year, \u003cem>Follow the Music\u003c/em>. She’s outlived most of the artists with whom she so memorably collaborated, like Hazel Dickens and her then-husband Mike Seeger, but Gerrard soldiers on, singing traditional and original songs filled with unspeakable ache and beatific joy. She’s touring with the Piedmont Melody Makers, featuring Chris Brashear on fiddle, guitar and vocals, Jim Watson on mandolin, bass and vocals, and Cliff Hale on vocals and guitar.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921065\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-400x268.jpg\" alt=\"Tessa Souter\" width=\"400\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Souter-mary-jane-farsnworth-960x643.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Souter\u003c/figcaption>\u003c/figure>\n\u003ch3>Tessa Souter\u003c/h3>\n\u003ch5>Oct. 24\u003cbr>\nCafé Pink House, 14577 Big Basin Way, Saratoga\u003cbr>\n\u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>New York jazz vocalist \u003ca href=\"http://tessasouter.com\" target=\"_blank\" rel=\"noopener\">Tessa Souter\u003c/a> is known for finding material unaccountably overlooked by other artists. On this rare trip back to the Bay Area (she lived in San Francisco in the 1990s, working as a journalist and helping found the \u003ca href=\"http://www.sfgrotto.org\" target=\"_blank\" rel=\"noopener\">Writer’s Grotto\u003c/a>), the London-born singer is focusing on music from her upcoming album based on her discovery at the age of 30 that her father wasn’t a white Spaniard but a black Trinidadian. Whatever material she explores, Souter is a beguiling artist who infuses everything she interprets with voluptuous intelligence and keen emotional insight.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10921070\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10921070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-400x267.jpg\" alt=\"Kim Nalley\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kim-Nalley-63-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley\u003c/h3>\n\u003ch5>Nov. 12\u003cbr>\nKuumbwa Jazz Center, 320 Cedar St., Santa Cruz\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003cp>San Francisco jazz and blues vocalist \u003ca href=\"http://www.kimnalley.net\" target=\"_blank\" rel=\"noopener\">Kim Nalley\u003c/a> celebrates the release of her powerhouse new album \u003cem>Blues People\u003c/em>, a project that veers from outrage to the outrageous without missing a beat. There’s nobody better at delivering bawdy, blush-inducing erotica like “Trombone Song (Big Long Sliding Thing),” but Nalley is equally commanding channeling her anger over the killing of Trayvon Martin in her original “Big Hooded Black Man.” Amidst the sex and violence, Nalley offers glimpses of redemption, from hymns (“Amazing Grace”), spirituals (“Trouble of the World”), and a fantastic gospel version of The Jefferson’s theme “Movin’ On Up.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>Runners Up\u003c/h2>\n\u003ch3>Edmar Castaneda\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nKuumbwa Jazz Center, 320 Cedar St., Santa Cruz\u003cbr>\n\u003ca href=\"http://kuumbwajazz.org/calendar/7pm-edmar-castaneda/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003ch3>California Banjo Extravaganza\u003c/h3>\n\u003ch5>Nov. 14\u003cbr>\nEtz Chaiyim Hall, 4161 Alma St., Palo Alto\u003cbr>\n\u003ca href=\"http://www.rba.org/#CBE\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003ch3>Kayhan Kalhor and Erdal Erzincan\u003c/h3>\n\u003ch5>Nov. 22\u003cbr>\nMontalvo Arts Center, 15400 Montalvo Rd., Saratoga\u003cbr>\n\u003ca href=\"http://montalvoarts.org/events/kayhan_kalhor_erdal_erzincan/\" target=\"_blank\" rel=\"noopener\">Tickets and info\u003c/a>\u003c/h5>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Can It Get Any Wurst(er)? Talking Drumming & Joke-Writing with Jon Wurster",
"headTitle": "Can It Get Any Wurst(er)? Talking Drumming & Joke-Writing with Jon Wurster | 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/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>An Evening with Scharpling & Wurster\u003c/h2>\n\u003cdiv class=\"event-desc\">Proto-podcasters provide an on-stage version of their radio bits. \u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 3\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If drummers are your thing, you should get to know Jon Wurster. For decades, he’s pounded the skins in Superchunk, the band that helped lay the foundation for indie rock as we know it. He has a musical resume miles-long, with his current employers including punk legend Bob Mould and indie poet laureates the Mountain Goats. \u003c/p>\n\u003cp>But he’s also one half of the writing duo (Tom) Scharpling & Wurster, the comedic engine behind \u003ca href=\"http://thebestshow.net/\" target=\"_blank\" rel=\"noopener\">\u003ci>The Best Show\u003c/i>\u003c/a> podcast. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/22/longtime-fan-speaks-to-godfather-of-podcasting-about-the-best-show/\" target=\"_blank\" rel=\"noopener\">Covered before on this site\u003c/a>, Scharpling and Wurster are godfathers of the medium, making mp3s of their long-running radio show \u003cem>The Best Show on WFMU\u003c/em> available on their site before iTunes supported podcasts. \u003c/p>\n\u003cp>Though Scharpling is the host and main driver of \u003cem>The Best Show\u003c/em>, the highlight of each episode are Wurster’s pre-scripted calls to Scharpling as one of dozens of wacky characters, such as “The Gorch” (supposed inspiration for the Fonz), two-inch-tall racist Timmy Von Trimble and the Philadelphia-loving Mayor of Newbridge, Philly Boy Roy. (\u003ci>Listen to Wurster discuss the inspiration for Philly Boy Roy Below.\u003c/i>)\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/221530711″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>After taking their show off the airwaves, retooling it into a web-only show and releasing a 16-CD \u003cem>Best Of\u003c/em> box set this year, the two also began performing live in theaters around the country. Scharpling and Wurster bring their show to San Francisco’s Great American Music Hall \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">this week\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I spoke with Wurster on the phone, I couldn’t help but ask about his long career in the music business before jumping into his comedy work. Interview has been edited for length and clarity.\u003c/p>\n\u003cp>\u003cb>How did you get the name “Johnny Earthshoe?”\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925605\" 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/IMG_0695-800x600.jpg\" alt=\"Back of The Dead Milkmen 'Big Lizard In My Backyard' showing Wurster's joke name\" width=\"800\" height=\"600\" class=\"size-medium wp-image-10925605\">\u003cfigcaption class=\"wp-caption-text\">Back cover of the Dead Milkmen’s ‘Big Lizard In My Backyard,’ showing Wurster’s joke name.\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, probably 16, I was friends with Dean “Clean” Sabatino, who was the drummer in the Dead Milkmen. I knew him before he was in the band, and when he joined the Dead Milkmen, I’d go to his house and watch them rehearse. This was before they had a record out, and I’m actually credited with recording two songs on their debut album \u003ci>Big Lizard in My Backyard\u003c/i>, which just means that I turned their tape recorder on while they recorded in their basement. \u003c/p>\n\u003cp>Around that time I started making up these songs and recording them using two boomboxes. I put a cassette out via Joe Jack Talcum (guitarist for the Dead Milkmen) who had a tape label. I chose to release the tape under the name “Johnny Earthshoe” because a kid I sat next to at school wore Earth Shoes, those rippled-soled shoes that were really out of fashion by that point. I think I was really fascinated that someone would still wear these things. \u003c/p>\n\u003cp>\u003cb>What was it like signing to Arista when you were playing with the \u003ca href=\"https://www.youtube.com/watch?v=uDUNl2mFL5Y\" target=\"_blank\" rel=\"noopener\">Right Profile\u003c/a> and having nothing come of it?\u003c/b>\u003c/p>\n\u003cp>I was lucky I had my really bad music industry stuff out of the way early. We got signed, and it turned out to be a revenge signing against someone who used to be an A&R guy for Arista. A guy who I knew from Philadelphia who was familiar with the whole deal told me that this one A&R guy wanted to sign the band before I joined but someone high up at the label didn’t want to. Then the guy left, having gone to a new label and was going to sign the band to it but that’s when Arista got interested again.\u003c/p>\n\u003cp>I joined the band in January of 1986 and we got signed three months later. Imagine being 19, working at a toothpaste packaging plant and you move to this city you don’t really know (Winston-Salem, NC) and you get signed by Clive Davis after a show at CBGBs. It was kind of like a movie. \u003c/p>\n\u003cp>And then it got bad. We had a few months of exhilaration — “It’s happening!” — and then things began to drag. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wginsK5ridE\u003c/p>\n\u003cp>We were in a red tape hell for years. We’d do these demos and we’d work with people like the guy that produced the Dwight Yoakam records and Jim Dickinson (producer of the Rolling Stones and the Replacements, among others). But it was just impossible to get anything done. I was seeing my friends in the Dead Milkmen coming to town, and they had a hit record and were drawing lots of people. My band was on a major label and we didn’t have any money. We were struggling to even make a record. \u003c/p>\n\u003cp>That ended eventually and I moved to Chapel Hill, NC, where I got lucky: I met Mac (McCaughan) from Superchunk when I was cleaning the windows of the record store he worked at. They were having trouble with their drummer at the time and the idea came up that maybe I would want to play in Superchunk. Luckily it all worked out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y_gE3QWO7jU\u003c/p>\n\u003cp>\u003cb>Did that experience prepare you for when Superchunk went on hiatus in the early ’00s? You’ve described that as being a horrible time.\u003c/b>\u003c/p>\n\u003cp>We put out a record in 2001 and unfortunately it came out a week after 9/11. To go on the road when the world is falling apart, literally… It wasn’t a fun tour. Nobody was coming out because nobody wanted to see bands.\u003c/p>\n\u003cp>We had a meeting and I was secretly hoping that the band would end but we agreed to put it way on the backburner. Other things would come first and we would get back together if and when we wanted to, and that sounded great. And that’s what we did for the next eight years.\u003c/p>\n\u003cfigure id=\"attachment_10925602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg\" alt=\"Jon Wurster behind the kit\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10925602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums.jpg 599w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jon Wurster behind the kit. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did one final tour with the Get Up Kids in the summer of 2002. I honestly didn’t know about them, but they named one of their records after a Superchunk lyric and they were big fans. So when they asked us to tour we thought maybe we’d pick up a new, younger audience by opening for them. \u003c/p>\n\u003cp>The first night of the tour was in Orlando. We drove all the way down there. The first band plays, this band called Hot Rod Circuit. They were a young, pop-punkish kind of band and everyone loves them. So we’re thinking “This is going to be great. If they like them, they’re gonna love us!” [Laughs] \u003c/p>\n\u003cp>We get up there and it was like playing to a painting for 45-50 minutes. And every show was like that. They’d never heard of us, we were old and just not their scene. That was tough, and after that is when we took the next eight years off.\u003c/p>\n\u003cp>\u003cb>I understand you got your start in television writing for MTV?\u003c/b>\u003c/p>\n\u003cp>In 2005, I was lucky a friend of mine put my name in for a gig writing funny commercials for MTV. So every six months or so I’d get a decent-paying gig writing commercials for the \u003cem>MTV Movie Awards\u003c/em> and stuff like that. I was doing that while I was playing in bands.\u003c/p>\n\u003cp>\u003cb>I’m guessing it helped that you were doing the \u003ci>The Best Show on WFMU\u003c/i> at that time.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925604\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg\" alt=\"Wurster (R) hanging with actor Adam West during Wurster's MTV writing days\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10925604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wurster (at right) with actor Adam West during Wurster’s MTV writing days. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, that helped, because both the MTV commercials and the \u003cem>Best Show\u003c/em> calls were written. The calls were less written-out in the early days of the show, but there’s a degree of writing involved in both. So I was able to take what little experience I had writing comedy and put it into these spots. \u003c/p>\n\u003cp>\u003cb>Why did you start completely writing out the calls? Is it about quality control?\u003c/b>\u003c/p>\n\u003cp>Well, we do have spaces where we can improvise in these tightly scripted calls. But for me, the reason for tightening the calls up came about when I would edit the “Best Of” CDs we’d put out every couple of years in the 2000s. I just realized that the calls could be tighter. There were a lot of digressions and little off-roads that were funny, but they didn’t really further the story that much. \u003c/p>\n\u003cp>Also, we like the idea of these crazy, involved stories that have all these layers to them. I think when you’re able to think them out beforehand, it’s easier to tell those stories than if you just have a kernel of an idea and you’re trying to come up with stuff as you’re going.\u003c/p>\n\u003cp>\u003cb>What about those calls where you’re listing off a lot of things, like the guy who wrote all those “___ sucks” songs?\u003c/b> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MO_UbaKy7r4\u003c/p>\n\u003cp>If there’s ever a big list of anything, those are written out. But one of the greatest compliments we’ll ever get is that people think that the calls are just us talking. They’re not, but it’s great that people think they are. \u003c/p>\n\u003cp>\u003cb>Especially with the running gag about the “mouse with the cape,” which you’ll say you saw if you find yourself laughing too hard during the call. Where did that come from?\u003c/b>\u003c/p>\n\u003cp>I don’t remember. We didn’t laugh during calls for the longest time and then around ’09 or ’10, we just got comfortable enough that we just started laughing more. In the past I think we were more focused on just getting through them and making sure we hit all the things we wanted to hit. Now that we’ve done it so much, we know each other’s buttons so I’ll sneak in stuff he doesn’t know about and he’ll do the same for me. Any time you hear us laughing, that’s real and it’s usually someone being surprised by something. \u003c/p>\n\u003cp>But I think I was just laughing once and I needed something to cover those six seconds I lost — some sort of dumb explanation as to why I stopped talking. I came up with that I just saw a mouse scurrying across the floor wearing a cape. a) That’s stupid, and b) why is that the funniest thing you’ve ever heard?\u003c/p>\n\u003cp>\u003cb>How has it been doing the show live? I was surprised to hear that Tom wanted to do these live shows because he had always said that he didn’t like being the guy on stage; he’d rather be behind the scenes as a writer or behind a mic.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925603\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg\" alt=\"Tom Scharlping (L) and Jon Wurster (R) during a live performance\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10925603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-660x600.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live.jpg 708w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tom Scharlping (L) and Jon Wurster (R) during a live performance.\u003c/figcaption>\u003c/figure>\n\u003cp>Well, I don’t want to use the word “force,” but we were definitely… I’ll use the word forced. [Laughs] We were kinda forced into doing these live shows to promote the box set we put out in March. We always talked about doing a live show but we never talked about it in any kind of depth. So when the box set came up and we had to do some kind of personal appearances to promote this thing, that’s when we really got to thinking about doing a live show. \u003c/p>\n\u003cp>I’m a little like Tom in that doing this over the phone is way easier than doing it live. I don’t think either of us have that gene/defect where we need to be in front of people, basking in applause. But once we got past that apprehension, it became much easier and a lot more fun. \u003c/p>\n\u003cp>After we first wrote the show out in March, we did four shows in Brooklyn. We knew what we were going to do, but we never ran through it. We never timed it or anything. We didn’t know if it was going to be a half-hour or three hours. And we had two shows a night. \u003c/p>\n\u003cp>When we did that first show, it was just over 90 minutes and we realized that it was working. We got five minutes into the first show, and we knew that we could do it and people liked it. That was a huge load off, and the fact that it was a reasonable amount of time was even better. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘An Evening With Scharpling & Wurster’ comes to town on Thursday, Sept. 3, at the Great American Music Hall. For event details, visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">The Do List.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"excerpt": "Jon Wurster just happens to not only play drums for the coolest bands, he also provides the special ingredient to one of the funniest podcasts going today.",
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"description": "Jon Wurster just happens to not only play drums for the coolest bands, he also provides the special ingredient to one of the funniest podcasts going today.",
"title": "Can It Get Any Wurst(er)? Talking Drumming & Joke-Writing with Jon Wurster | KQED",
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"headline": "Can It Get Any Wurst(er)? Talking Drumming & Joke-Writing with Jon Wurster",
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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/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>An Evening with Scharpling & Wurster\u003c/h2>\n\u003cdiv class=\"event-desc\">Proto-podcasters provide an on-stage version of their radio bits. \u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 3\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If drummers are your thing, you should get to know Jon Wurster. For decades, he’s pounded the skins in Superchunk, the band that helped lay the foundation for indie rock as we know it. He has a musical resume miles-long, with his current employers including punk legend Bob Mould and indie poet laureates the Mountain Goats. \u003c/p>\n\u003cp>But he’s also one half of the writing duo (Tom) Scharpling & Wurster, the comedic engine behind \u003ca href=\"http://thebestshow.net/\" target=\"_blank\" rel=\"noopener\">\u003ci>The Best Show\u003c/i>\u003c/a> podcast. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/22/longtime-fan-speaks-to-godfather-of-podcasting-about-the-best-show/\" target=\"_blank\" rel=\"noopener\">Covered before on this site\u003c/a>, Scharpling and Wurster are godfathers of the medium, making mp3s of their long-running radio show \u003cem>The Best Show on WFMU\u003c/em> available on their site before iTunes supported podcasts. \u003c/p>\n\u003cp>Though Scharpling is the host and main driver of \u003cem>The Best Show\u003c/em>, the highlight of each episode are Wurster’s pre-scripted calls to Scharpling as one of dozens of wacky characters, such as “The Gorch” (supposed inspiration for the Fonz), two-inch-tall racist Timmy Von Trimble and the Philadelphia-loving Mayor of Newbridge, Philly Boy Roy. (\u003ci>Listen to Wurster discuss the inspiration for Philly Boy Roy Below.\u003c/i>)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/221530711″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/221530711″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After taking their show off the airwaves, retooling it into a web-only show and releasing a 16-CD \u003cem>Best Of\u003c/em> box set this year, the two also began performing live in theaters around the country. Scharpling and Wurster bring their show to San Francisco’s Great American Music Hall \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">this week\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I spoke with Wurster on the phone, I couldn’t help but ask about his long career in the music business before jumping into his comedy work. Interview has been edited for length and clarity.\u003c/p>\n\u003cp>\u003cb>How did you get the name “Johnny Earthshoe?”\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925605\" 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/IMG_0695-800x600.jpg\" alt=\"Back of The Dead Milkmen 'Big Lizard In My Backyard' showing Wurster's joke name\" width=\"800\" height=\"600\" class=\"size-medium wp-image-10925605\">\u003cfigcaption class=\"wp-caption-text\">Back cover of the Dead Milkmen’s ‘Big Lizard In My Backyard,’ showing Wurster’s joke name.\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, probably 16, I was friends with Dean “Clean” Sabatino, who was the drummer in the Dead Milkmen. I knew him before he was in the band, and when he joined the Dead Milkmen, I’d go to his house and watch them rehearse. This was before they had a record out, and I’m actually credited with recording two songs on their debut album \u003ci>Big Lizard in My Backyard\u003c/i>, which just means that I turned their tape recorder on while they recorded in their basement. \u003c/p>\n\u003cp>Around that time I started making up these songs and recording them using two boomboxes. I put a cassette out via Joe Jack Talcum (guitarist for the Dead Milkmen) who had a tape label. I chose to release the tape under the name “Johnny Earthshoe” because a kid I sat next to at school wore Earth Shoes, those rippled-soled shoes that were really out of fashion by that point. I think I was really fascinated that someone would still wear these things. \u003c/p>\n\u003cp>\u003cb>What was it like signing to Arista when you were playing with the \u003ca href=\"https://www.youtube.com/watch?v=uDUNl2mFL5Y\" target=\"_blank\" rel=\"noopener\">Right Profile\u003c/a> and having nothing come of it?\u003c/b>\u003c/p>\n\u003cp>I was lucky I had my really bad music industry stuff out of the way early. We got signed, and it turned out to be a revenge signing against someone who used to be an A&R guy for Arista. A guy who I knew from Philadelphia who was familiar with the whole deal told me that this one A&R guy wanted to sign the band before I joined but someone high up at the label didn’t want to. Then the guy left, having gone to a new label and was going to sign the band to it but that’s when Arista got interested again.\u003c/p>\n\u003cp>I joined the band in January of 1986 and we got signed three months later. Imagine being 19, working at a toothpaste packaging plant and you move to this city you don’t really know (Winston-Salem, NC) and you get signed by Clive Davis after a show at CBGBs. It was kind of like a movie. \u003c/p>\n\u003cp>And then it got bad. We had a few months of exhilaration — “It’s happening!” — and then things began to drag. \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/wginsK5ridE'\n title='//www.youtube.com/embed/wginsK5ridE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We were in a red tape hell for years. We’d do these demos and we’d work with people like the guy that produced the Dwight Yoakam records and Jim Dickinson (producer of the Rolling Stones and the Replacements, among others). But it was just impossible to get anything done. I was seeing my friends in the Dead Milkmen coming to town, and they had a hit record and were drawing lots of people. My band was on a major label and we didn’t have any money. We were struggling to even make a record. \u003c/p>\n\u003cp>That ended eventually and I moved to Chapel Hill, NC, where I got lucky: I met Mac (McCaughan) from Superchunk when I was cleaning the windows of the record store he worked at. They were having trouble with their drummer at the time and the idea came up that maybe I would want to play in Superchunk. Luckily it all worked out.\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/Y_gE3QWO7jU'\n title='//www.youtube.com/embed/Y_gE3QWO7jU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Did that experience prepare you for when Superchunk went on hiatus in the early ’00s? You’ve described that as being a horrible time.\u003c/b>\u003c/p>\n\u003cp>We put out a record in 2001 and unfortunately it came out a week after 9/11. To go on the road when the world is falling apart, literally… It wasn’t a fun tour. Nobody was coming out because nobody wanted to see bands.\u003c/p>\n\u003cp>We had a meeting and I was secretly hoping that the band would end but we agreed to put it way on the backburner. Other things would come first and we would get back together if and when we wanted to, and that sounded great. And that’s what we did for the next eight years.\u003c/p>\n\u003cfigure id=\"attachment_10925602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg\" alt=\"Jon Wurster behind the kit\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10925602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums.jpg 599w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jon Wurster behind the kit. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did one final tour with the Get Up Kids in the summer of 2002. I honestly didn’t know about them, but they named one of their records after a Superchunk lyric and they were big fans. So when they asked us to tour we thought maybe we’d pick up a new, younger audience by opening for them. \u003c/p>\n\u003cp>The first night of the tour was in Orlando. We drove all the way down there. The first band plays, this band called Hot Rod Circuit. They were a young, pop-punkish kind of band and everyone loves them. So we’re thinking “This is going to be great. If they like them, they’re gonna love us!” [Laughs] \u003c/p>\n\u003cp>We get up there and it was like playing to a painting for 45-50 minutes. And every show was like that. They’d never heard of us, we were old and just not their scene. That was tough, and after that is when we took the next eight years off.\u003c/p>\n\u003cp>\u003cb>I understand you got your start in television writing for MTV?\u003c/b>\u003c/p>\n\u003cp>In 2005, I was lucky a friend of mine put my name in for a gig writing funny commercials for MTV. So every six months or so I’d get a decent-paying gig writing commercials for the \u003cem>MTV Movie Awards\u003c/em> and stuff like that. I was doing that while I was playing in bands.\u003c/p>\n\u003cp>\u003cb>I’m guessing it helped that you were doing the \u003ci>The Best Show on WFMU\u003c/i> at that time.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925604\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg\" alt=\"Wurster (R) hanging with actor Adam West during Wurster's MTV writing days\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10925604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wurster (at right) with actor Adam West during Wurster’s MTV writing days. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, that helped, because both the MTV commercials and the \u003cem>Best Show\u003c/em> calls were written. The calls were less written-out in the early days of the show, but there’s a degree of writing involved in both. So I was able to take what little experience I had writing comedy and put it into these spots. \u003c/p>\n\u003cp>\u003cb>Why did you start completely writing out the calls? Is it about quality control?\u003c/b>\u003c/p>\n\u003cp>Well, we do have spaces where we can improvise in these tightly scripted calls. But for me, the reason for tightening the calls up came about when I would edit the “Best Of” CDs we’d put out every couple of years in the 2000s. I just realized that the calls could be tighter. There were a lot of digressions and little off-roads that were funny, but they didn’t really further the story that much. \u003c/p>\n\u003cp>Also, we like the idea of these crazy, involved stories that have all these layers to them. I think when you’re able to think them out beforehand, it’s easier to tell those stories than if you just have a kernel of an idea and you’re trying to come up with stuff as you’re going.\u003c/p>\n\u003cp>\u003cb>What about those calls where you’re listing off a lot of things, like the guy who wrote all those “___ sucks” songs?\u003c/b> \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/MO_UbaKy7r4'\n title='//www.youtube.com/embed/MO_UbaKy7r4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there’s ever a big list of anything, those are written out. But one of the greatest compliments we’ll ever get is that people think that the calls are just us talking. They’re not, but it’s great that people think they are. \u003c/p>\n\u003cp>\u003cb>Especially with the running gag about the “mouse with the cape,” which you’ll say you saw if you find yourself laughing too hard during the call. Where did that come from?\u003c/b>\u003c/p>\n\u003cp>I don’t remember. We didn’t laugh during calls for the longest time and then around ’09 or ’10, we just got comfortable enough that we just started laughing more. In the past I think we were more focused on just getting through them and making sure we hit all the things we wanted to hit. Now that we’ve done it so much, we know each other’s buttons so I’ll sneak in stuff he doesn’t know about and he’ll do the same for me. Any time you hear us laughing, that’s real and it’s usually someone being surprised by something. \u003c/p>\n\u003cp>But I think I was just laughing once and I needed something to cover those six seconds I lost — some sort of dumb explanation as to why I stopped talking. I came up with that I just saw a mouse scurrying across the floor wearing a cape. a) That’s stupid, and b) why is that the funniest thing you’ve ever heard?\u003c/p>\n\u003cp>\u003cb>How has it been doing the show live? I was surprised to hear that Tom wanted to do these live shows because he had always said that he didn’t like being the guy on stage; he’d rather be behind the scenes as a writer or behind a mic.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925603\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg\" alt=\"Tom Scharlping (L) and Jon Wurster (R) during a live performance\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10925603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-660x600.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live.jpg 708w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tom Scharlping (L) and Jon Wurster (R) during a live performance.\u003c/figcaption>\u003c/figure>\n\u003cp>Well, I don’t want to use the word “force,” but we were definitely… I’ll use the word forced. [Laughs] We were kinda forced into doing these live shows to promote the box set we put out in March. We always talked about doing a live show but we never talked about it in any kind of depth. So when the box set came up and we had to do some kind of personal appearances to promote this thing, that’s when we really got to thinking about doing a live show. \u003c/p>\n\u003cp>I’m a little like Tom in that doing this over the phone is way easier than doing it live. I don’t think either of us have that gene/defect where we need to be in front of people, basking in applause. But once we got past that apprehension, it became much easier and a lot more fun. \u003c/p>\n\u003cp>After we first wrote the show out in March, we did four shows in Brooklyn. We knew what we were going to do, but we never ran through it. We never timed it or anything. We didn’t know if it was going to be a half-hour or three hours. And we had two shows a night. \u003c/p>\n\u003cp>When we did that first show, it was just over 90 minutes and we realized that it was working. We got five minutes into the first show, and we knew that we could do it and people liked it. That was a huge load off, and the fact that it was a reasonable amount of time was even better. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘An Evening With Scharpling & Wurster’ comes to town on Thursday, Sept. 3, at the Great American Music Hall. For event details, visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">The Do List.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: ‘Backstage Heroes’ spotlights the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is \u003ca href=\"http://ww2.kqed.org/arts/author/hswanhuyser/\" target=\"_blank\" rel=\"noopener\">Hiya Swanhuyser\u003c/a>, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem>, giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Room 416 is the opposite of a nightclub: well-lit, designed for work, no beer on tap. Yet in some ways this formal, wood-paneled place in San Francisco’s City Hall is the most important room in the city’s nightlife. Among its regulars is Entertainment Commission Executive Director Jocelyn Kane, and although the longtime San Franciscan is a hyper-competent administrator with an Ivy League degree in public policy, there’s only one reason she’s here, and that is to rock. \u003c/p>\n\u003cp>“My first concert was Van Halen, in 1980,” Kane says. “Or ’79?”\u003c/p>\n\u003cp>Kane loves loud music, then and now, and it’s fascinating to see how straightforwardly she brings that love into the otherwise quiet world of municipal government. “In the code sections, when people talk about the noise ordinances, what they’re really saying is they don’t like the sound they’re hearing,” she says. “So I don’t say ‘noise.’ I say ‘sound.’ Words matter, as you know. I don’t want to look under the code section and see ‘noise.’ I want to see ‘sound.’”\u003c/p>\n\u003cfigure id=\"attachment_10923102\" 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/JocelynKaneST.jpg\" alt=\"Jocelyn Kane with Aerosmith's Steven Tyler. \" width=\"640\" height=\"777\" class=\"size-full wp-image-10923102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JocelynKaneST.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JocelynKaneST-400x486.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JocelynKaneST-494x600.jpg 494w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jocelyn Kane with Aerosmith’s Steven Tyler.\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being a fan, Kane is very, very good at “the business side” of music, the side most musicians will tell you they’re bad at. It’s a rare combination, and to have such a person in charge of regulating music is a boon many San Franciscans may not have considered, considering the alternative. In the late 1990s, Kane says, “The city agreed [with proposing Supervisor Mark Leno] that the place for regulation of nightlife was not the police department.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No wonder it’s so hard to talk about whether, and how, and where music should get going, if those questions are in the hands of an enforcement-oriented police department with no interest in culture, let alone a mandate to grow and protect it. But Kane says in San Francisco, that’s how it had been dealt with up to then, “and where it typically is in cities.” \u003c/p>\n\u003cp>Example: The commission’s annual report found that San Francisco’s restaurants, bars, nightclubs, and outdoor performance spaces created 52,000 jobs in the city in fiscal year 2013-14. But that’s not the kicker. \u003c/p>\n\u003cp>“According to a 2012 economic impact study,” she reports, “the sector accounts for $4.2 billion in spending by 80 million customers annually.” Did you know that? I didn’t, and it’s even my job to observe this “sector.” Without the Entertainment Commission, as motivated and managed by Kane, maybe no one would know.\u003c/p>\n\u003cfigure id=\"attachment_10923103\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/jocelyn-panel1.jpg\" alt=\"Jocelyn Kane, advocate for nightlife.\" width=\"400\" height=\"266\" class=\"size-full wp-image-10923103\">\u003cfigcaption class=\"wp-caption-text\">Jocelyn Kane, advocate for nightlife.\u003c/figcaption>\u003c/figure>\n\u003cp>When I visit Kane’s psychedelic-poster-covered office in City Hall, each cubicle featuring sheaves of backstage passes as decoration, it feels funny. To come to the seat of authority to talk about live music seems backwards. It’s certainly not very punk rock. When we say “fight the power,” don’t we mean… government power? Maybe it’s just part of the deep iconoclasm of this city, where Kane’s bright-pink hair is in good company with longtime commissioner Audrey Joseph’s tattooed hands, perfectly at home in Room 416 or walking the somber marble halls.\u003c/p>\n\u003cp>We talk about Kane’s time as a “little party promoter” in the ’80s and ’90s with her company Motogirl Productions, booking shows at the Voodoo Lounge (“sushi in the front, rock ’n’ roll in the back”) and co-producing Nadine’s Wild Weekend, among other festivals. She tells me her “pearls and pumps phase” after college devolved into an early divorce and quarter-life crisis, with the happy result of a lot of motorcycle riding, a musician for a boyfriend, and insight. “’I need to figure out who I am and what I want,’” she realized, “So I woke up. And I came off autopilot,” to find that the music world spoke to her, and was fulfilling in a way her life working for the Department of Parking and Traffic had never been: “’I can’t talk about residential parking permits at another party, or have another person yell at me about a parking ticket!’” The Entertainment Commission got started around the same time, needed staff members, and she realized it was a job made for her. She’s been here ever since.\u003c/p>\n\u003cp>“When Jocelyn decided to focus on the music scene, she started at the bottom and worked her way up, just like bands,” remembers Nadine Condon of the aforementioned Nadine’s Wild Weekend. “That’s what makes her uniquely qualified to steward entertainment in San Francisco.” \u003c/p>\n\u003cp>Watching the commission in action in Room 416, I’m struck by the way Kane’s seat is literally in the middle of everything, and the way that from it, she looks up at the commissioners on one side and up at members of the public on the other. She serves them all, us all. “She may have a fancy-dancy degree, but she’s one of us… a diehard lover of SF music to the bone,” says Condon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That dual nature, it seems, is what allows Kane to remain between worlds — reminding us what culture is worth, and turning noise into sound. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: ‘Backstage Heroes’ spotlights the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is \u003ca href=\"http://ww2.kqed.org/arts/author/hswanhuyser/\" target=\"_blank\" rel=\"noopener\">Hiya Swanhuyser\u003c/a>, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem>, giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Room 416 is the opposite of a nightclub: well-lit, designed for work, no beer on tap. Yet in some ways this formal, wood-paneled place in San Francisco’s City Hall is the most important room in the city’s nightlife. Among its regulars is Entertainment Commission Executive Director Jocelyn Kane, and although the longtime San Franciscan is a hyper-competent administrator with an Ivy League degree in public policy, there’s only one reason she’s here, and that is to rock. \u003c/p>\n\u003cp>“My first concert was Van Halen, in 1980,” Kane says. “Or ’79?”\u003c/p>\n\u003cp>Kane loves loud music, then and now, and it’s fascinating to see how straightforwardly she brings that love into the otherwise quiet world of municipal government. “In the code sections, when people talk about the noise ordinances, what they’re really saying is they don’t like the sound they’re hearing,” she says. “So I don’t say ‘noise.’ I say ‘sound.’ Words matter, as you know. I don’t want to look under the code section and see ‘noise.’ I want to see ‘sound.’”\u003c/p>\n\u003cfigure id=\"attachment_10923102\" 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/JocelynKaneST.jpg\" alt=\"Jocelyn Kane with Aerosmith's Steven Tyler. \" width=\"640\" height=\"777\" class=\"size-full wp-image-10923102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JocelynKaneST.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JocelynKaneST-400x486.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JocelynKaneST-494x600.jpg 494w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jocelyn Kane with Aerosmith’s Steven Tyler.\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being a fan, Kane is very, very good at “the business side” of music, the side most musicians will tell you they’re bad at. It’s a rare combination, and to have such a person in charge of regulating music is a boon many San Franciscans may not have considered, considering the alternative. In the late 1990s, Kane says, “The city agreed [with proposing Supervisor Mark Leno] that the place for regulation of nightlife was not the police department.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No wonder it’s so hard to talk about whether, and how, and where music should get going, if those questions are in the hands of an enforcement-oriented police department with no interest in culture, let alone a mandate to grow and protect it. But Kane says in San Francisco, that’s how it had been dealt with up to then, “and where it typically is in cities.” \u003c/p>\n\u003cp>Example: The commission’s annual report found that San Francisco’s restaurants, bars, nightclubs, and outdoor performance spaces created 52,000 jobs in the city in fiscal year 2013-14. But that’s not the kicker. \u003c/p>\n\u003cp>“According to a 2012 economic impact study,” she reports, “the sector accounts for $4.2 billion in spending by 80 million customers annually.” Did you know that? I didn’t, and it’s even my job to observe this “sector.” Without the Entertainment Commission, as motivated and managed by Kane, maybe no one would know.\u003c/p>\n\u003cfigure id=\"attachment_10923103\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/jocelyn-panel1.jpg\" alt=\"Jocelyn Kane, advocate for nightlife.\" width=\"400\" height=\"266\" class=\"size-full wp-image-10923103\">\u003cfigcaption class=\"wp-caption-text\">Jocelyn Kane, advocate for nightlife.\u003c/figcaption>\u003c/figure>\n\u003cp>When I visit Kane’s psychedelic-poster-covered office in City Hall, each cubicle featuring sheaves of backstage passes as decoration, it feels funny. To come to the seat of authority to talk about live music seems backwards. It’s certainly not very punk rock. When we say “fight the power,” don’t we mean… government power? Maybe it’s just part of the deep iconoclasm of this city, where Kane’s bright-pink hair is in good company with longtime commissioner Audrey Joseph’s tattooed hands, perfectly at home in Room 416 or walking the somber marble halls.\u003c/p>\n\u003cp>We talk about Kane’s time as a “little party promoter” in the ’80s and ’90s with her company Motogirl Productions, booking shows at the Voodoo Lounge (“sushi in the front, rock ’n’ roll in the back”) and co-producing Nadine’s Wild Weekend, among other festivals. She tells me her “pearls and pumps phase” after college devolved into an early divorce and quarter-life crisis, with the happy result of a lot of motorcycle riding, a musician for a boyfriend, and insight. “’I need to figure out who I am and what I want,’” she realized, “So I woke up. And I came off autopilot,” to find that the music world spoke to her, and was fulfilling in a way her life working for the Department of Parking and Traffic had never been: “’I can’t talk about residential parking permits at another party, or have another person yell at me about a parking ticket!’” The Entertainment Commission got started around the same time, needed staff members, and she realized it was a job made for her. She’s been here ever since.\u003c/p>\n\u003cp>“When Jocelyn decided to focus on the music scene, she started at the bottom and worked her way up, just like bands,” remembers Nadine Condon of the aforementioned Nadine’s Wild Weekend. “That’s what makes her uniquely qualified to steward entertainment in San Francisco.” \u003c/p>\n\u003cp>Watching the commission in action in Room 416, I’m struck by the way Kane’s seat is literally in the middle of everything, and the way that from it, she looks up at the commissioners on one side and up at members of the public on the other. She serves them all, us all. “She may have a fancy-dancy degree, but she’s one of us… a diehard lover of SF music to the bone,” says Condon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That dual nature, it seems, is what allows Kane to remain between worlds — reminding us what culture is worth, and turning noise into sound. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Toro Y Moi Surprise-Releases Hip-Hop Influenced Mixtape 'Samantha'",
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"content": "\u003cp>The East Bay’s Chaz Budnick, a.k.a. Toro Y Moi, has just released a collection of hip-hop and electronic-oriented tracks called \u003cem>Samantha\u003c/em>. It features collaborators including Kool A.D., Rome Fortune, Washed out and more. \u003ca href=\"https://www.dropbox.com/sh/raajg71yzjperor/AABZYn6kJ9Hzb3O7rShxABf9a?dl=0\" target=\"_blank\" rel=\"noopener\">You can download it for free right here\u003c/a>.\u003c/p>\n\u003cp>The material might seem a curiosity to fans of Toro Y Moi, a project known more for Budnick’s wry indie-era updating of yacht rock than for minimalist trap beats. But \u003ca href=\"http://www.eastbayexpress.com/oakland/toro-y-moi-id-rather-be-a-producer-than-an-artist/Content?oid=4443624\" target=\"_blank\" rel=\"noopener\">as noted\u003c/a> by San Lefebvre of the \u003cem>East Bay Express\u003c/em> in a profile earlier this month:\u003c/p>\n\u003cblockquote>\u003cp>In the last couple of months, [Budnick] started uploading tracks featuring rappers, such as local obscurantist Kool A.D. and Atlanta standout Rome Fortune, to Soundcloud. They’re hashtagged “Samantha,” the name of his wife, and they’re vivid, realized works. “Pitch Black” has muffled percussion and serpentine keys, modulated into a needling bridge for Fortune’s pitchy delivery, while the clipped beat on “2Late” inspired Kool A.D. to flex his auto-croon. In conversation, Bundick indicated the existence of ample unreleased material done in a similar style.\u003c/p>\u003c/blockquote>\n\u003cp>Toro Y Moi plays a show \u003ca href=\"https://www.facebook.com/events/106181796403443/\" target=\"_blank\" rel=\"noopener\">tonight\u003c/a> at UC Berkeley Memorial Glade. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The East Bay’s Chaz Budnick, a.k.a. Toro Y Moi, has just released a collection of hip-hop and electronic-oriented tracks called \u003cem>Samantha\u003c/em>. It features collaborators including Kool A.D., Rome Fortune, Washed out and more. \u003ca href=\"https://www.dropbox.com/sh/raajg71yzjperor/AABZYn6kJ9Hzb3O7rShxABf9a?dl=0\" target=\"_blank\" rel=\"noopener\">You can download it for free right here\u003c/a>.\u003c/p>\n\u003cp>The material might seem a curiosity to fans of Toro Y Moi, a project known more for Budnick’s wry indie-era updating of yacht rock than for minimalist trap beats. But \u003ca href=\"http://www.eastbayexpress.com/oakland/toro-y-moi-id-rather-be-a-producer-than-an-artist/Content?oid=4443624\" target=\"_blank\" rel=\"noopener\">as noted\u003c/a> by San Lefebvre of the \u003cem>East Bay Express\u003c/em> in a profile earlier this month:\u003c/p>\n\u003cblockquote>\u003cp>In the last couple of months, [Budnick] started uploading tracks featuring rappers, such as local obscurantist Kool A.D. and Atlanta standout Rome Fortune, to Soundcloud. They’re hashtagged “Samantha,” the name of his wife, and they’re vivid, realized works. “Pitch Black” has muffled percussion and serpentine keys, modulated into a needling bridge for Fortune’s pitchy delivery, while the clipped beat on “2Late” inspired Kool A.D. to flex his auto-croon. In conversation, Bundick indicated the existence of ample unreleased material done in a similar style.\u003c/p>\u003c/blockquote>\n\u003cp>Toro Y Moi plays a show \u003ca href=\"https://www.facebook.com/events/106181796403443/\" target=\"_blank\" rel=\"noopener\">tonight\u003c/a> at UC Berkeley Memorial Glade. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/TDL20150828.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">The Commonwealth Club Presents “Death With Interruptions,”\u003c/a>\u003c/strong> to wrap up their “Music Matters” series. \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Los Lonely Boys.\u003c/a> \u003c/strong>The three Garza brothers, Henry, Jojo and Ringo, mix a bit of conjunto into brown-eyed soul and blues-rock, perfect for a warm afternoon in the park in San Jose. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29: \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Bicicletas Por La Paz\u003c/a>.\u003c/strong> A mix of South American-angled funk, ska, reggae, \u003ci>rock en español\u003c/i> and rap — from a band that doubles as a bicycle advocacy and awareness collective. \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Read more on the California Report here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Curious Flights. \u003c/a>\u003c/strong>San Francisco Conservatory of Music graduate Brenden Guy (a terrific clarinetist) curates this four-concert series featuring music that isn’t on everyone’s classical playlist — but should be.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Wednesday, Sept. 2:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\"> ‘Between Riverside and Crazy.’\u003c/a> \u003c/strong>Stephen Adly Guirgis’s playwon a Pulitzer Prize last year, and A-C-T opens its season with the first production outside of New York. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">The Commonwealth Club Presents “Death With Interruptions,”\u003c/a>\u003c/strong> to wrap up their “Music Matters” series. \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Los Lonely Boys.\u003c/a> \u003c/strong>The three Garza brothers, Henry, Jojo and Ringo, mix a bit of conjunto into brown-eyed soul and blues-rock, perfect for a warm afternoon in the park in San Jose. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29: \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Bicicletas Por La Paz\u003c/a>.\u003c/strong> A mix of South American-angled funk, ska, reggae, \u003ci>rock en español\u003c/i> and rap — from a band that doubles as a bicycle advocacy and awareness collective. \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Read more on the California Report here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Curious Flights. \u003c/a>\u003c/strong>San Francisco Conservatory of Music graduate Brenden Guy (a terrific clarinetist) curates this four-concert series featuring music that isn’t on everyone’s classical playlist — but should be.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Wednesday, Sept. 2:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\"> ‘Between Riverside and Crazy.’\u003c/a> \u003c/strong>Stephen Adly Guirgis’s playwon a Pulitzer Prize last year, and A-C-T opens its season with the first production outside of New York. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco-based fetish pornography company Kink.com \u003ca href=\"http://www.sfgate.com/bayarea/article/Fetish-porn-palace-the-Armory-to-reopen-as-music-6458128.php\" target=\"_blank\" rel=\"noopener\">announced last week\u003c/a> that it is opening a new event venue within its offices inside The Armory, the former National Guard facility at Mission and 14th streets. \u003c/p>\n\u003cp>The venue, which is also known as Drill Court and has a capacity of 4,000 people, has hosted several events over the years, such as Pride parties and books fairs. But its potential as a music venue was put to the test in back in July when the British electronic duo The Chemical Brothers played there as the headliners of the Hard SF Festival. The show went off without a hitch so plans went forward to turn it into a full-time venue.\u003c/p>\n\u003cfigure id=\"attachment_10917328\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg\" alt=\"Graphic of Audrey Joseph at Folsom Street Fair\" width=\"350\" height=\"349\" class=\"size-full wp-image-10917328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Graphic of Audrey Joseph at Folsom Street Fair \u003ccite>(Courtesy: Audreyjoseph.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the hall undergoes renovations such as soundproofing and having bathrooms installed, the owners hope to turn it into a music venue that rivals Bill Graham Auditorium or the Masonic by this fall. To lead the charge, the building’s owners have hired Audrey Joseph, vice chair on the San Francisco Entertainment Commission and a veteran club promoter responsible for running legendary dance clubs such as Club Townsend and the Mezzanine.\u003c/p>\n\u003cp>I recently spoke with Joseph about her plans for the new venue, her history and the state of San Francisco Night life today, and as you’ll see, she had a lot to say on those matters.\u003c/p>\n\u003cp>\u003cb>How did you get involved with Drill Court?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I saw the place before Kink.com owner Peter Acworth put a nickel into it and I thought it was pretty amazing. As Peter was fixing it up, I kept telling him, “I wanna do a gig here. I wanna do a gig here.” And finally he relented and he let me do one during the Pride before last. I did “Pride at the Armory: Prisoner of Love,” which was controversial because it had “prisoner” in the name. But it was an amazing event; I did it as a Club Universe reunion and we packed the house — there were 3,800 people there. Peter was amazed by the event as well and soon afterward I became a consultant for him on developing the space. But around then I got really sick — I got cancer — and I just dropped out of everything and went through 18 weeks of chemo. During this, Peter comes to me and says “We really need you to come in and talk to us.” I was still on chemo and I went in to talk to them, and they asked me to come work for them. I was going to sell my business anyway and I was in love with the space; it could be my girlfriend. So then I just started spending Peter’s money like crazy developing the space, adding a coat check, bathrooms, production office, service kitchen… I just went to town.\u003c/p>\n\u003cp>\u003cb>What are your plans for this new venue?\u003c/b>\u003c/p>\n\u003cp>It’s an event space and it’s probably the only event space of its type in the city; the closest to it might be Fort Mason. It’s a 40,000-square-foot space with an 80-foot dome, and we expect to do a lot of fabulous events there: concerts, dances, corporate parties, whatever. It’s one of those blank palettes that event planners can just get creative with.\u003c/p>\n\u003cfigure id=\"attachment_10917675\" 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/drillcourt_e-800x533.jpg\" alt=\"Another view of Drill Court\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10917675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of Drill Court \u003ccite>(Courtesy: Armorystudios.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What kind of events do you have in the works?\u003c/b>\u003c/p>\n\u003cp>This is off the top of my head, but we have a booked a lot of corporate Christmas parties and a beer festival in November. We are also going to set up a haunted house that will be running for half of October, Oct. 14 through Halloween, and we are going to have two Halloween parties. And we are also in talks with Goldenvoice and Live Nation about doing some gigs. \u003c/p>\n\u003cp>\u003cb>You’re a veteran with decades of experience in promoting clubs. How do you feel about booking a venue this large?\u003c/b>\u003c/p>\n\u003cp>I owned Club Townsend, a 20,000-square-foot venue on Townsend Street, for a decade. It was the Studio 54 of the west coast and we used to bring 3,000 people through the door on any given night. I also produced main stage at San Francisco Pride and the dance stage for Folsom Street Fair for a long time. I helped build the Mezzanine, which is still in existence today. Let’s put it this way: cocktail parties for ten people I’m not so good at. Give me 100,000 people and I’m great. I’m a size queen; I can do big much better than I can do little.\u003c/p>\n\u003cp>\u003cb>You used to work with \u003ca href=\"https://en.wikipedia.org/wiki/Sylvester_(singer)\" target=\"_blank\" rel=\"noopener\">Sylvester\u003c/a>, AKA The Queen of Disco. How did you come into that job?\u003c/b>\u003c/p>\n\u003cp>He’s the reason I’m here. I lived in New York and I was in a bad fire; I almost died. So I took a year off work and began traveling all over the country to see all of my friends. When I got here [to San Francisco], Patrick Cowley, Sylvester’s songwriter and producer, had passed away three days after I arrived; he was an early AIDS victim. After we buried him, I said, “Okay, I’m leaving!” And Sylvester said, “Where do you think you’re going? You’re not going anywhere; we have to put out Patrick’s music.” So I stayed for one song, “Do Ya Wanna Funk,” but then we went on to put out records like “Don’t Stop” and “All I Need.” Two years later I was like, “I guess I should find a place to live and find a bed.” It’s hard not to fall in love with this city, that’s for sure.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Being on the SF Entertainment Commission, how do you see the local club scene?\u003c/b>\u003c/p>\n\u003cp>I think the city has come a long way. A dozen years ago, police and city officials would call entertainment an attractive nuisance and they would blame it for anything that went wrong. Today, we did an economic impact study that showed that $4.2 billion is brought into the city between the hours of 9pm and 5am — the other 9 to 5. It also showed that there were 48,000 jobs in the entertainment industry and it paid about $55 million in payroll taxes. Also, we recently did a study on daytime events and found they brought $1.5 billion to the city. So, entertainment is an economic driver in a city whose number 1 industry is tourism. \u003c/p>\n\u003cp>In addition, over the last few years, there’s been about 200 and change tech companies that have come into the city whose employees are the millennials. If you want to service your population, then you have to give them what they need, and I’m not necessarily talking about Whole Foods. You’ve got to give them entertainment because that’s what these young people do until they stopped being young. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think the city recognized that entertainment is a thriving and important aspect of the general economy. Since that time, the city has instituted lots of policies that protect nightlife, such as legacy clubs. Also, Supervisor London Breed’s legislation passed that states that encroaching housing developments cannot negatively impact local entertainment. Entertainment in the city is valued and is even doing studies on nighttime public transportation to not only service those going out, but the people who work in these venues. The city is now in real support of entertainment. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based fetish pornography company Kink.com \u003ca href=\"http://www.sfgate.com/bayarea/article/Fetish-porn-palace-the-Armory-to-reopen-as-music-6458128.php\" target=\"_blank\" rel=\"noopener\">announced last week\u003c/a> that it is opening a new event venue within its offices inside The Armory, the former National Guard facility at Mission and 14th streets. \u003c/p>\n\u003cp>The venue, which is also known as Drill Court and has a capacity of 4,000 people, has hosted several events over the years, such as Pride parties and books fairs. But its potential as a music venue was put to the test in back in July when the British electronic duo The Chemical Brothers played there as the headliners of the Hard SF Festival. The show went off without a hitch so plans went forward to turn it into a full-time venue.\u003c/p>\n\u003cfigure id=\"attachment_10917328\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg\" alt=\"Graphic of Audrey Joseph at Folsom Street Fair\" width=\"350\" height=\"349\" class=\"size-full wp-image-10917328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Graphic of Audrey Joseph at Folsom Street Fair \u003ccite>(Courtesy: Audreyjoseph.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the hall undergoes renovations such as soundproofing and having bathrooms installed, the owners hope to turn it into a music venue that rivals Bill Graham Auditorium or the Masonic by this fall. To lead the charge, the building’s owners have hired Audrey Joseph, vice chair on the San Francisco Entertainment Commission and a veteran club promoter responsible for running legendary dance clubs such as Club Townsend and the Mezzanine.\u003c/p>\n\u003cp>I recently spoke with Joseph about her plans for the new venue, her history and the state of San Francisco Night life today, and as you’ll see, she had a lot to say on those matters.\u003c/p>\n\u003cp>\u003cb>How did you get involved with Drill Court?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I saw the place before Kink.com owner Peter Acworth put a nickel into it and I thought it was pretty amazing. As Peter was fixing it up, I kept telling him, “I wanna do a gig here. I wanna do a gig here.” And finally he relented and he let me do one during the Pride before last. I did “Pride at the Armory: Prisoner of Love,” which was controversial because it had “prisoner” in the name. But it was an amazing event; I did it as a Club Universe reunion and we packed the house — there were 3,800 people there. Peter was amazed by the event as well and soon afterward I became a consultant for him on developing the space. But around then I got really sick — I got cancer — and I just dropped out of everything and went through 18 weeks of chemo. During this, Peter comes to me and says “We really need you to come in and talk to us.” I was still on chemo and I went in to talk to them, and they asked me to come work for them. I was going to sell my business anyway and I was in love with the space; it could be my girlfriend. So then I just started spending Peter’s money like crazy developing the space, adding a coat check, bathrooms, production office, service kitchen… I just went to town.\u003c/p>\n\u003cp>\u003cb>What are your plans for this new venue?\u003c/b>\u003c/p>\n\u003cp>It’s an event space and it’s probably the only event space of its type in the city; the closest to it might be Fort Mason. It’s a 40,000-square-foot space with an 80-foot dome, and we expect to do a lot of fabulous events there: concerts, dances, corporate parties, whatever. It’s one of those blank palettes that event planners can just get creative with.\u003c/p>\n\u003cfigure id=\"attachment_10917675\" 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/drillcourt_e-800x533.jpg\" alt=\"Another view of Drill Court\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10917675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of Drill Court \u003ccite>(Courtesy: Armorystudios.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What kind of events do you have in the works?\u003c/b>\u003c/p>\n\u003cp>This is off the top of my head, but we have a booked a lot of corporate Christmas parties and a beer festival in November. We are also going to set up a haunted house that will be running for half of October, Oct. 14 through Halloween, and we are going to have two Halloween parties. And we are also in talks with Goldenvoice and Live Nation about doing some gigs. \u003c/p>\n\u003cp>\u003cb>You’re a veteran with decades of experience in promoting clubs. How do you feel about booking a venue this large?\u003c/b>\u003c/p>\n\u003cp>I owned Club Townsend, a 20,000-square-foot venue on Townsend Street, for a decade. It was the Studio 54 of the west coast and we used to bring 3,000 people through the door on any given night. I also produced main stage at San Francisco Pride and the dance stage for Folsom Street Fair for a long time. I helped build the Mezzanine, which is still in existence today. Let’s put it this way: cocktail parties for ten people I’m not so good at. Give me 100,000 people and I’m great. I’m a size queen; I can do big much better than I can do little.\u003c/p>\n\u003cp>\u003cb>You used to work with \u003ca href=\"https://en.wikipedia.org/wiki/Sylvester_(singer)\" target=\"_blank\" rel=\"noopener\">Sylvester\u003c/a>, AKA The Queen of Disco. How did you come into that job?\u003c/b>\u003c/p>\n\u003cp>He’s the reason I’m here. I lived in New York and I was in a bad fire; I almost died. So I took a year off work and began traveling all over the country to see all of my friends. When I got here [to San Francisco], Patrick Cowley, Sylvester’s songwriter and producer, had passed away three days after I arrived; he was an early AIDS victim. After we buried him, I said, “Okay, I’m leaving!” And Sylvester said, “Where do you think you’re going? You’re not going anywhere; we have to put out Patrick’s music.” So I stayed for one song, “Do Ya Wanna Funk,” but then we went on to put out records like “Don’t Stop” and “All I Need.” Two years later I was like, “I guess I should find a place to live and find a bed.” It’s hard not to fall in love with this city, that’s for sure.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Being on the SF Entertainment Commission, how do you see the local club scene?\u003c/b>\u003c/p>\n\u003cp>I think the city has come a long way. A dozen years ago, police and city officials would call entertainment an attractive nuisance and they would blame it for anything that went wrong. Today, we did an economic impact study that showed that $4.2 billion is brought into the city between the hours of 9pm and 5am — the other 9 to 5. It also showed that there were 48,000 jobs in the entertainment industry and it paid about $55 million in payroll taxes. Also, we recently did a study on daytime events and found they brought $1.5 billion to the city. So, entertainment is an economic driver in a city whose number 1 industry is tourism. \u003c/p>\n\u003cp>In addition, over the last few years, there’s been about 200 and change tech companies that have come into the city whose employees are the millennials. If you want to service your population, then you have to give them what they need, and I’m not necessarily talking about Whole Foods. You’ve got to give them entertainment because that’s what these young people do until they stopped being young. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the city recognized that entertainment is a thriving and important aspect of the general economy. Since that time, the city has instituted lots of policies that protect nightlife, such as legacy clubs. Also, Supervisor London Breed’s legislation passed that states that encroaching housing developments cannot negatively impact local entertainment. Entertainment in the city is valued and is even doing studies on nighttime public transportation to not only service those going out, but the people who work in these venues. The city is now in real support of entertainment. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It doesn’t seem that long ago that the Weeknd, a.k.a. Abel Tesfaye, \u003ca href=\"http://citysound.bohemian.com/2012/05/09/live-review-the-weeknd-at-the-fillmore-san-francisco/\" target=\"_blank\" rel=\"noopener\">headlined the Fillmore\u003c/a> with a 60-minute set and a small backing band. Fast-forward three years, and the Weeknd is everywhere. While his smash hit “\u003ca href=\"https://www.youtube.com/watch?v=waU75jdUnYw\" target=\"_blank\" rel=\"noopener\">Earned It\u003c/a>” continues to explode from the closing credits of \u003cem>50 Shades of Grey\u003c/em> to Top 40 radio ubiquity, the singles from his upcoming full-length \u003cem>Beauty Behind the Madness\u003c/em> keep coming: “Often,” “I Can’t Feel My Face” and “Tell Your Friends” already seem inescapable. It’s no understatement: the guy is definitely on a roll.\u003c/p>\n\u003cp>The Weeknd’s \u003cem>The Madness\u003c/em> tour \u003ca href=\"http://www.ticketmaster.com/the-weeknd-the-madness-fall-tour-oakland-california-12-05-2015/event/1C004F13AA464120\" target=\"_blank\" rel=\"noopener\">hits Oakland’s Oracle Arena on Dec. 5\u003c/a>, and \u003ca href=\"http://www.ticketmaster.com/the-weeknd-the-madness-fall-tour-oakland-california-12-05-2015/event/1C004F13AA464120\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> are sure to be in high demand. They’re also grouped into varying complicated stages of presale. Let’s break it all down.\u003c/p>\n\u003cp>Citi cardholders get first dibs starting Monday, Aug. 24 at 10am (tickets must be purchased with a Citi card). Then, a fan presale starts Tuesday, Aug 25 at 10am for those who \u003ca href=\"http://shop.theweeknd.com/page/store\" target=\"_blank\" rel=\"noopener\">buy a $28 T-shirt from the Weeknd’s web store\u003c/a> to receive a presale code good for up to four tickets. A \u003ca href=\"https://www.facebook.com/events/873946039321336\" target=\"_blank\" rel=\"noopener\">Facebook presale\u003c/a> starts Wednesday, Aug. 25 with the presale code “MADNESS.” Finally, the \u003ca href=\"http://www.ticketmaster.com/the-weeknd-the-madness-fall-tour-oakland-california-12-05-2015/event/1C004F13AA464120\" target=\"_blank\" rel=\"noopener\">onsale to the general public\u003c/a> begins Friday, Aug. 28, at 10am.\u003c/p>\n\u003cp>Other than that, all we can say is be quick on the browser refresh, and good luck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "With a huge fan base and newfound radio ubiquity, the Weeknd is sure to sell out his Oakland show quickly - here's all the presale code information you need to know for buying tickets.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It doesn’t seem that long ago that the Weeknd, a.k.a. Abel Tesfaye, \u003ca href=\"http://citysound.bohemian.com/2012/05/09/live-review-the-weeknd-at-the-fillmore-san-francisco/\" target=\"_blank\" rel=\"noopener\">headlined the Fillmore\u003c/a> with a 60-minute set and a small backing band. Fast-forward three years, and the Weeknd is everywhere. While his smash hit “\u003ca href=\"https://www.youtube.com/watch?v=waU75jdUnYw\" target=\"_blank\" rel=\"noopener\">Earned It\u003c/a>” continues to explode from the closing credits of \u003cem>50 Shades of Grey\u003c/em> to Top 40 radio ubiquity, the singles from his upcoming full-length \u003cem>Beauty Behind the Madness\u003c/em> keep coming: “Often,” “I Can’t Feel My Face” and “Tell Your Friends” already seem inescapable. It’s no understatement: the guy is definitely on a roll.\u003c/p>\n\u003cp>The Weeknd’s \u003cem>The Madness\u003c/em> tour \u003ca href=\"http://www.ticketmaster.com/the-weeknd-the-madness-fall-tour-oakland-california-12-05-2015/event/1C004F13AA464120\" target=\"_blank\" rel=\"noopener\">hits Oakland’s Oracle Arena on Dec. 5\u003c/a>, and \u003ca href=\"http://www.ticketmaster.com/the-weeknd-the-madness-fall-tour-oakland-california-12-05-2015/event/1C004F13AA464120\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> are sure to be in high demand. They’re also grouped into varying complicated stages of presale. Let’s break it all down.\u003c/p>\n\u003cp>Citi cardholders get first dibs starting Monday, Aug. 24 at 10am (tickets must be purchased with a Citi card). Then, a fan presale starts Tuesday, Aug 25 at 10am for those who \u003ca href=\"http://shop.theweeknd.com/page/store\" target=\"_blank\" rel=\"noopener\">buy a $28 T-shirt from the Weeknd’s web store\u003c/a> to receive a presale code good for up to four tickets. A \u003ca href=\"https://www.facebook.com/events/873946039321336\" target=\"_blank\" rel=\"noopener\">Facebook presale\u003c/a> starts Wednesday, Aug. 25 with the presale code “MADNESS.” Finally, the \u003ca href=\"http://www.ticketmaster.com/the-weeknd-the-madness-fall-tour-oakland-california-12-05-2015/event/1C004F13AA464120\" target=\"_blank\" rel=\"noopener\">onsale to the general public\u003c/a> begins Friday, Aug. 28, at 10am.\u003c/p>\n\u003cp>Other than that, all we can say is be quick on the browser refresh, and good luck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Bicicletas Por La Paz's Rolling Revolution, With a Beat",
"title": "Bicicletas Por La Paz's Rolling Revolution, With a Beat",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Bicicletas Por la Paz sounds like the kind of thing people make fun of the Bay Area for. It’s a bicycle advocacy and awareness collective that’s serving healthy meals from its “People’s Kitchen” and building a center for displaced people in Colombia. Oh, and there’s the smoothies stand — blended using pedal power, of course.\u003c/p>\n\u003cp>So with all that, the thought of them being a band, too, might have you rolling your eyes. Not so fast.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220328502\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Take the song “Gigante Elefante,” about the perils of dodging cars while rolling on two wheels, which doesn’t sound like fun. And yet it’s a typically frisky — and accomplished — highlight from the debut album, “Musica por Puppets,” being celebrated with an Aug. 29 release party concert at San Francisco’s Great American Music Hall.\u003c/p>\n\u003cp>Throughout, there’s a mix of South American-angled funk, ska, reggae, \u003ci>rock en español\u003c/i> and even some credible rap. On “Keep On,” the band even manages to create sort of an organic hip-hop track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut.jpg\">\u003cimg class=\"alignleft wp-image-10652222\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-400x388.jpg\" alt=\"Bicicletas Por La Paz\" width=\"342\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-400x388.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-800x775.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-1440x1395.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-1180x1143.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-960x930.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-32x32.jpg 32w\" sizes=\"(max-width: 342px) 100vw, 342px\">\u003c/a>The Bicicletas is a self-described group of “musicians, cyclists, circus performers, visual artists, hooligans and environmentalists,” united to fight “corporate power over people and the environment.” Fortunately, the eight-piece band, led by guitarist Adley Penner and sporting a rotating cast of four singers, understands that the best way to further that mission, musically speaking, is to get people to sing and dance.\u003c/p>\n\u003cp>So the material, by and large, is not specifically topical, but more celebrations and examinations of grass-roots spirit. “On the Clock,” an ode to life in the daily grind, has a dark cheerleading quality, a bit reminiscent of England’s exuberant Go! Team.\u003c/p>\n\u003cp>They do, though, get really topical -- with righteous fire -- on “Fruitvale.” Referencing the 2009 police shooting of young African-American Oscar Grant on a BART platform, the song lives up to the Johnny Rotten maxim: Anger is an energy. Sprawling over six minutes, it moves from slow-simmer prologue to full-on catharsis manifest in roiling ska and then into quasi-theatrical rage.\u003c/p>\n\u003cp>The heavy intensity of that works because it’s buoyed by the lightheartedness of free spirits elsewhere, a sense that the musicians feel that anything can be accomplished if they just get on two wheels and ride, literally or metaphorically.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a people-powered revolution and the activism, the politics and the world view all are spokes on one hub, something held forth in what is more or less the Biciclectas Por la Paz anthem, the album’s very first, very joyous song: “Vámonos Ciclista.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bicicletas Por la Paz sounds like the kind of thing people make fun of the Bay Area for. It’s a bicycle advocacy and awareness collective that’s serving healthy meals from its “People’s Kitchen” and building a center for displaced people in Colombia. Oh, and there’s the smoothies stand — blended using pedal power, of course.\u003c/p>\n\u003cp>So with all that, the thought of them being a band, too, might have you rolling your eyes. Not so fast.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/220328502&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/220328502'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Take the song “Gigante Elefante,” about the perils of dodging cars while rolling on two wheels, which doesn’t sound like fun. And yet it’s a typically frisky — and accomplished — highlight from the debut album, “Musica por Puppets,” being celebrated with an Aug. 29 release party concert at San Francisco’s Great American Music Hall.\u003c/p>\n\u003cp>Throughout, there’s a mix of South American-angled funk, ska, reggae, \u003ci>rock en español\u003c/i> and even some credible rap. On “Keep On,” the band even manages to create sort of an organic hip-hop track.\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/news/wp-content/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut.jpg\">\u003cimg class=\"alignleft wp-image-10652222\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-400x388.jpg\" alt=\"Bicicletas Por La Paz\" width=\"342\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-400x388.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-800x775.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-1440x1395.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-1180x1143.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-960x930.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16446_20143-Bicicletas_20Final_20Cover-qut-32x32.jpg 32w\" sizes=\"(max-width: 342px) 100vw, 342px\">\u003c/a>The Bicicletas is a self-described group of “musicians, cyclists, circus performers, visual artists, hooligans and environmentalists,” united to fight “corporate power over people and the environment.” Fortunately, the eight-piece band, led by guitarist Adley Penner and sporting a rotating cast of four singers, understands that the best way to further that mission, musically speaking, is to get people to sing and dance.\u003c/p>\n\u003cp>So the material, by and large, is not specifically topical, but more celebrations and examinations of grass-roots spirit. “On the Clock,” an ode to life in the daily grind, has a dark cheerleading quality, a bit reminiscent of England’s exuberant Go! Team.\u003c/p>\n\u003cp>They do, though, get really topical -- with righteous fire -- on “Fruitvale.” Referencing the 2009 police shooting of young African-American Oscar Grant on a BART platform, the song lives up to the Johnny Rotten maxim: Anger is an energy. Sprawling over six minutes, it moves from slow-simmer prologue to full-on catharsis manifest in roiling ska and then into quasi-theatrical rage.\u003c/p>\n\u003cp>The heavy intensity of that works because it’s buoyed by the lightheartedness of free spirits elsewhere, a sense that the musicians feel that anything can be accomplished if they just get on two wheels and ride, literally or metaphorically.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a people-powered revolution and the activism, the politics and the world view all are spokes on one hub, something held forth in what is more or less the Biciclectas Por la Paz anthem, the album’s very first, very joyous song: “Vámonos Ciclista.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Napa's Musicians Take Over the Town for 2015 Porchfest",
"title": "Napa's Musicians Take Over the Town for 2015 Porchfest",
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"content": "\u003cp>A 116-band festival probably sounds like Coachella or Lollapalooza. But 59 different stages? For free? Its no wonder the town of Napa is trying to keep \u003ca href=\"https://www.facebook.com/pages/Napa-Porchfest/198470643510714\" target=\"_blank\">Porchfest\u003c/a> under wraps.\u003c/p>\n\u003cp>The basic premise of the Porchfest concept, which was \u003ca href=\"http://www.porchfest.org/\" target=\"_blank\">born in Ithaca, New York\u003c/a> in 2007, is to showcase local music on people’s front porches and yards.\u003c/p>\n\u003cp>It’s proved wildly successful, and \u003ca href=\"http://www.front-porch-ideas-and-more.com/porchfest.html\" target=\"_blank\">dozens of cities\u003c/a> now hold their own Porchfests. But Napa was the first in the western U.S.\u003c/p>\n\u003cp>“The first year we all had butterflies in our stomach,” said Rachel Clark, who helped start Napa Porchfest in 2011.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220325511\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“That morning we’re like ‘What if only 250 people show up?’ It ended up being more like 2,500,”Clark said, as she handed out maps to new arrivals wandering the streets of downtown Napa. Bikes zoomed by, families with strollers were out in force and lawns were dotted with strangers chatting and hopping from band to band.\u003c/p>\n\u003cfigure id=\"attachment_10649140\" class=\"wp-caption alignright\" style=\"max-width: 466px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed.jpg\">\u003cimg class=\" wp-image-10649140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg\" alt=\"Many of Napa's streets are closed off to cars for the festival.\" width=\"466\" height=\"262\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-960x540.jpg 960w\" sizes=\"(max-width: 466px) 100vw, 466px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of Napa's streets are closed off to cars for the festival. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, with music ranging from Celtic folk to hip-hop, and everything in between, attendance topped 12,000, despite an intentional lack of promotion outside the area. There’s a concerted effort to keep Porchfest focused on locals. To play here, at least one member of the band must live in Napa County, and even the food trucks have to be local.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>“\u003c/em>it’s a little more relaxing than our usual big shows where we’re in front of thousands of people,” said Izi Holokahi, who sings and plays ukulele for \u003ca href=\"https://www.facebook.com/BlessedLoveGospelReggaeBand\" target=\"_blank\">Blessed Love Gospel Reggae\u003c/a>, a 10-piece band\u003c/p>\n\u003cp>He’s sweating in the 85-degree heat, minutes after finishing a set out in front of the keyboardist’s house.\u003c/p>\n\u003cfigure id=\"attachment_10649137\" class=\"wp-caption alignleft\" style=\"max-width: 453px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg\">\u003cimg class=\" wp-image-10649137\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg\" alt=\"Blessed Love Gospel Reggae\" width=\"453\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-960x540.jpg 960w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Blessed Love Gospel Reggae \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People here live right down the road from each other,\"said Clark. \"So at least they know now, whenever they walk or drive past this house, 'Hey man! That’s the guy that was in that reggae band!'\u003c/p>\n\u003cp>“Who knew that our retired judge [is] an amazing drummer in a band? And our local kindergarten teacher is an awesome vocalist!\"\u003c/p>\n\u003cp>“I think it is absolutely the best thing this city has done,” said Sheree Solomon, who hosts an annual get-together every year. She and some friends are sitting on lawn chairs in her front yard, sipping wine and watching passers-by.\u003c/p>\n\u003cp>\"It gets everybody together as a family,\" she said. \"It supports all these local young startups. It’s awesome. …Every city should do this. It’s a family affair.“\u003c/p>\n\u003cp>Porchfest also can serve as a springboard for up-and-coming musicians, who need exposure and have limited venues in Napa County.\u003c/p>\n\u003cp>“It’s a great place to come and listen to music, and it doesn’t cost anything. So you can’t beat that,\" said Joe Barreca, who’s watching a band called Powerglide play on the porch of a house that dates from the late 1800s.\u003c/p>\n\u003cfigure id=\"attachment_10649138\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering.jpg\">\u003cimg class=\"wp-image-10649138 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg\" alt=\"Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The home is being restored by Lauren Ackerman, to become a local \u003ca href=\"https://www.pinterest.com/napalauren/laurens-victorian/\" target=\"_blank\">heritage museum of sorts\u003c/a>. But Ackerman’s plans hit a major speed bump when last year’s earthquake hit.\u003c/p>\n\u003cp>“All the walls fell down in the main part of the house,” she said while giving visitors an impromptu tour. “I was about 45 days from being done and had to basically lock it up and put the key away for about eight to nine months.”\u003c/p>\n\u003cp>The Porchfest planning committee had been urging Ackerman to participate for several years. \u003ca href=\"http://www.napacountylandmarks.org/\" target=\"_blank\">Napa County Landmarks\u003c/a>, a local nonprofit and the event’s fiscal sponsor, sees live performance as a way to bring the town’s beautiful old houses to life.\u003c/p>\n\u003cp>“The music changes everything,” says the organization's director, Stacey DeShazo. “We want people involved in historic preservation and saving our structures, and seeing these old houses in these great neighborhoods, but seeing it in a different light.\"\u003c/p>\n\u003cfigure id=\"attachment_10649139\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence.jpg\">\u003cimg class=\" wp-image-10649139\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg\" alt=\"Napa Porchfest 2015 attendees check out a band.\" width=\"459\" height=\"258\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-960x540.jpg 960w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Napa Porchfest 2015 attendees check out a band. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We've done house tours for 30 or 40 years, and we do bicycle tours of historic neighborhoods, we do all kinds of ways,\" says Napa City Councilmember \u003ca href=\"http://www.cityofnapa.org/index.php?option=com_content&view=article&id=111&Itemid=1119\" target=\"_blank\">Juliana Inman\u003c/a>, who is also chair of the Porchfest committee. \"And this has by far been the most effective way to get lots of people into our historic neighborhoods and appreciate them.”\u003c/p>\n\u003cp>Inman has also helped other communities who are trying to start their own Porchfest, including the town of Carmel, Indiana.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here in California, San Francisco’s\u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\"> Mission and Noe Valley\u003c/a> neighborhoods held their inaugural Porchfest this year, and the town of Gilroy is \u003ca href=\"http://www.porchfestgilroy.org/\" target=\"_blank\">holding their second one this September. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 116-band festival probably sounds like Coachella or Lollapalooza. But 59 different stages? For free? Its no wonder the town of Napa is trying to keep \u003ca href=\"https://www.facebook.com/pages/Napa-Porchfest/198470643510714\" target=\"_blank\">Porchfest\u003c/a> under wraps.\u003c/p>\n\u003cp>The basic premise of the Porchfest concept, which was \u003ca href=\"http://www.porchfest.org/\" target=\"_blank\">born in Ithaca, New York\u003c/a> in 2007, is to showcase local music on people’s front porches and yards.\u003c/p>\n\u003cp>It’s proved wildly successful, and \u003ca href=\"http://www.front-porch-ideas-and-more.com/porchfest.html\" target=\"_blank\">dozens of cities\u003c/a> now hold their own Porchfests. But Napa was the first in the western U.S.\u003c/p>\n\u003cp>“The first year we all had butterflies in our stomach,” said Rachel Clark, who helped start Napa Porchfest in 2011.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/220325511&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/220325511'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“That morning we’re like ‘What if only 250 people show up?’ It ended up being more like 2,500,”Clark said, as she handed out maps to new arrivals wandering the streets of downtown Napa. Bikes zoomed by, families with strollers were out in force and lawns were dotted with strangers chatting and hopping from band to band.\u003c/p>\n\u003cfigure id=\"attachment_10649140\" class=\"wp-caption alignright\" style=\"max-width: 466px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed.jpg\">\u003cimg class=\" wp-image-10649140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg\" alt=\"Many of Napa's streets are closed off to cars for the festival.\" width=\"466\" height=\"262\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/streets-are-packed-960x540.jpg 960w\" sizes=\"(max-width: 466px) 100vw, 466px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of Napa's streets are closed off to cars for the festival. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, with music ranging from Celtic folk to hip-hop, and everything in between, attendance topped 12,000, despite an intentional lack of promotion outside the area. There’s a concerted effort to keep Porchfest focused on locals. To play here, at least one member of the band must live in Napa County, and even the food trucks have to be local.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>“\u003c/em>it’s a little more relaxing than our usual big shows where we’re in front of thousands of people,” said Izi Holokahi, who sings and plays ukulele for \u003ca href=\"https://www.facebook.com/BlessedLoveGospelReggaeBand\" target=\"_blank\">Blessed Love Gospel Reggae\u003c/a>, a 10-piece band\u003c/p>\n\u003cp>He’s sweating in the 85-degree heat, minutes after finishing a set out in front of the keyboardist’s house.\u003c/p>\n\u003cfigure id=\"attachment_10649137\" class=\"wp-caption alignleft\" style=\"max-width: 453px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg\">\u003cimg class=\" wp-image-10649137\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg\" alt=\"Blessed Love Gospel Reggae\" width=\"453\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Blessed-Love-Gospel-Reggae-960x540.jpg 960w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Blessed Love Gospel Reggae \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People here live right down the road from each other,\"said Clark. \"So at least they know now, whenever they walk or drive past this house, 'Hey man! That’s the guy that was in that reggae band!'\u003c/p>\n\u003cp>“Who knew that our retired judge [is] an amazing drummer in a band? And our local kindergarten teacher is an awesome vocalist!\"\u003c/p>\n\u003cp>“I think it is absolutely the best thing this city has done,” said Sheree Solomon, who hosts an annual get-together every year. She and some friends are sitting on lawn chairs in her front yard, sipping wine and watching passers-by.\u003c/p>\n\u003cp>\"It gets everybody together as a family,\" she said. \"It supports all these local young startups. It’s awesome. …Every city should do this. It’s a family affair.“\u003c/p>\n\u003cp>Porchfest also can serve as a springboard for up-and-coming musicians, who need exposure and have limited venues in Napa County.\u003c/p>\n\u003cp>“It’s a great place to come and listen to music, and it doesn’t cost anything. So you can’t beat that,\" said Joe Barreca, who’s watching a band called Powerglide play on the porch of a house that dates from the late 1800s.\u003c/p>\n\u003cfigure id=\"attachment_10649138\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering.jpg\">\u003cimg class=\"wp-image-10649138 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg\" alt=\"Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Solomons-gathering-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sheree Solomon invites friends over each year to sit on the lawn and take in Porchfest. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The home is being restored by Lauren Ackerman, to become a local \u003ca href=\"https://www.pinterest.com/napalauren/laurens-victorian/\" target=\"_blank\">heritage museum of sorts\u003c/a>. But Ackerman’s plans hit a major speed bump when last year’s earthquake hit.\u003c/p>\n\u003cp>“All the walls fell down in the main part of the house,” she said while giving visitors an impromptu tour. “I was about 45 days from being done and had to basically lock it up and put the key away for about eight to nine months.”\u003c/p>\n\u003cp>The Porchfest planning committee had been urging Ackerman to participate for several years. \u003ca href=\"http://www.napacountylandmarks.org/\" target=\"_blank\">Napa County Landmarks\u003c/a>, a local nonprofit and the event’s fiscal sponsor, sees live performance as a way to bring the town’s beautiful old houses to life.\u003c/p>\n\u003cp>“The music changes everything,” says the organization's director, Stacey DeShazo. “We want people involved in historic preservation and saving our structures, and seeing these old houses in these great neighborhoods, but seeing it in a different light.\"\u003c/p>\n\u003cfigure id=\"attachment_10649139\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence.jpg\">\u003cimg class=\" wp-image-10649139\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg\" alt=\"Napa Porchfest 2015 attendees check out a band.\" width=\"459\" height=\"258\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watching-from-corner-fence-960x540.jpg 960w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Napa Porchfest 2015 attendees check out a band. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We've done house tours for 30 or 40 years, and we do bicycle tours of historic neighborhoods, we do all kinds of ways,\" says Napa City Councilmember \u003ca href=\"http://www.cityofnapa.org/index.php?option=com_content&view=article&id=111&Itemid=1119\" target=\"_blank\">Juliana Inman\u003c/a>, who is also chair of the Porchfest committee. \"And this has by far been the most effective way to get lots of people into our historic neighborhoods and appreciate them.”\u003c/p>\n\u003cp>Inman has also helped other communities who are trying to start their own Porchfest, including the town of Carmel, Indiana.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here in California, San Francisco’s\u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\"> Mission and Noe Valley\u003c/a> neighborhoods held their inaugural Porchfest this year, and the town of Gilroy is \u003ca href=\"http://www.porchfestgilroy.org/\" target=\"_blank\">holding their second one this September. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"masters-of-scale": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"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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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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