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"title": "Opera Receives First Performances Outside Europe in 300 Years",
"headTitle": "Opera Receives First Performances Outside Europe in 300 Years | 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/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n",
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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/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n",
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"excerpt": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
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"description": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
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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://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Venezuelan Pianist Ed Simon Says Hello to Bay Area Jazz Community",
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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/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Ed Simon Trio\u003c/h2>\n\u003cdiv class=\"event-desc\">Jazz pianist alights in the Bay.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Joe Henderson Lab, SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1984, at the age of 15, pianist \u003ca href=\"http://www.edwardsimon.com\">Ed Simon\u003c/a> left his home in Punta Cardón, Venezuela and moved by himself to Pennsylvania. The South American nation’s famous public conservatory program, \u003ca href=\"https://elsistemausa.org/el-sistema-in-venezuela.htm\">El Sistema\u003c/a>, hadn’t yet reached his hometown — a small port dominated by the booming petroleum industry — and Simon’s father thought his middle son’s best chance to thrive would come in the United States.\u003c/p>\n\u003cp>His dad was right. Enrolled at the Philadelphia Performing Arts School, a now-defunct private academy, Simon discovered jazz, and eventually connected with Philly masters like bassist \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Fambrough\">Charles Fambrough\u003c/a> and guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Kevin_Eubanks\">Kevin Eubanks\u003c/a>, who encouraged him to move to New York.\u003c/p>\n\u003cp>Leaving Venezuela was just the first in a series of disorienting leaps that have marked Simon’s career. Landing in Manhattan in 1988, he quickly established himself as an essential new voice through touring and recording with altoist \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Watson\">Bobby Watson\u003c/a> and trumpeter \u003ca href=\"http://www.terenceblanchard.com\">Terence Blanchard\u003c/a>. Part of a wave of brilliant Latin-American musicians infusing the New York scene with influences beyond Cuba and Brazil, Simon recorded a series of acclaimed albums documenting his growing ambition as a composer. Years later, looking for a family-friendly environment to raise a family, he and his wife relocated to central Florida, which he used a base for a decade of international touring and teaching.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NXSG-Jf-7WA\u003c/p>\n\u003cp>And then, much like Simon’s father sought out a fertile environment for his son, the Simon clan decided to head to the Bay Area last year — eventually settling in Emeryville, where Simon’s son attends the \u003ca href=\"http://www.oakarts.org\">Oakland School for the Arts\u003c/a>. In many ways, he’s in the process of introducing himself to the Bay Area scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m still finding my way,” says Simon, 46, who opens a three-night run Friday at the SFJAZZ Center’s intimate \u003ca href=\"http://www.sfjazz.org/events/sessions/2015/0807/edward-simon\">Joe Henderson Lab\u003c/a> with his New York trio featuring bassist \u003ca href=\"http://www.joemartinbass.com\">Joe Martin\u003c/a> and drummer \u003ca href=\"http://www.adamcruz.net\">Adam Cruz\u003c/a>. “I run into a lot of people in a similar situation, and they all say it takes about two years before you feel like you’re in a groove. It’s kind of a drastic move at this age, much different than when you’re in your twenties or even thirties.”\u003c/p>\n\u003cp>It’s fair to note that Simon had a head start, as he’s held down the piano chair in the all-star \u003ca href=\"http://www.sfjazz.org/sfjazzcollective\">SFJAZZ Collective\u003c/a> since 2010. Impressed by many of the Bay Area players he’s encountered, Simon has primarily accessed the local scene via the extensive educational resources available to talented and motivated young musicians. As soon as word got out that he was relocating to the Bay Area, Simon got a call from pianist Susan Muscarella, the founder and director of Berkeley’s \u003ca href=\"http://cjc.edu\">California Jazz Conservatory\u003c/a>. Last year, he co-taught a CJC course on Afro-Venezuelan music with \u003ca href=\"http://www.jackelinerago.com\">Jackeline Rago\u003c/a>, the Caracas-born Bay Area cuatro and percussion master, “and hopefully we’ll be offering it again this fall,” he says.\u003c/p>\n\u003cp>This spring, Simon served as artist-in-residence at the \u003ca href=\"http://www.pacific.edu/Brubeck-Home.html\">Brubeck Institute\u003c/a> at the University of the Pacific in Stockton, and he’s been invited back as faculty in the fall. But the most important venue for connecting with Bay Area artists has been \u003ca href=\"http://www.jazzcampwest.com\">Jazz Camp West\u003c/a> in La Honda, the immersive summer camp-like program that’s nurtured a family vibe among master musicians and students for more than three decades.\u003c/p>\n\u003cp>Oakland percussion maestro \u003ca href=\"http://www.johnsantos.com\">John Santos\u003c/a>, a longtime JCW faculty member, had been telling Simon about the camp for several years, “but you can’t really understand what it’s like until you’ve done it,” Simon says. “It’s an incredible experience in terms of bonding and the communal vibe that’s generated. There’s no cell phone reception and no internet, so you’re immersed in this experience learning about jazz.”\u003c/p>\n\u003cp>Simon connected with East Bay players like trumpeter \u003ca href=\"http://www.erikjekabson.com/bio/\">Erik Jekabson\u003c/a> and bassist \u003ca href=\"https://www.facebook.com/scottonthabass/info?tab=page_info\">Scott Thompson\u003c/a>, and bonded particularly with Denver pianist Art Lande. Something of an underground legend, Lande made a point of introducing him to the Bay Area players in his band Shapeshifter: reed expert \u003ca href=\"http://www.paulmccandless.com\">Paul McCandless\u003c/a>, bassist \u003ca href=\"http://www.peterbarshay.com\">Peter Barshay\u003c/a>, and drummer \u003ca href=\"http://www.jazzdrumming.com\">Alan Hall\u003c/a>. “Art said ‘Edward just moved to town, you should do some playing,’” Simon says. “It was so welcoming, completely opening the door for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With his singular vision encompassing jazz and Latin American standards and folkloric traditions, Simon is ideally prepared to contribute to the Bay Area fray.\u003c/p>\n\n",
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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/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Ed Simon Trio\u003c/h2>\n\u003cdiv class=\"event-desc\">Jazz pianist alights in the Bay.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Joe Henderson Lab, SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1984, at the age of 15, pianist \u003ca href=\"http://www.edwardsimon.com\">Ed Simon\u003c/a> left his home in Punta Cardón, Venezuela and moved by himself to Pennsylvania. The South American nation’s famous public conservatory program, \u003ca href=\"https://elsistemausa.org/el-sistema-in-venezuela.htm\">El Sistema\u003c/a>, hadn’t yet reached his hometown — a small port dominated by the booming petroleum industry — and Simon’s father thought his middle son’s best chance to thrive would come in the United States.\u003c/p>\n\u003cp>His dad was right. Enrolled at the Philadelphia Performing Arts School, a now-defunct private academy, Simon discovered jazz, and eventually connected with Philly masters like bassist \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Fambrough\">Charles Fambrough\u003c/a> and guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Kevin_Eubanks\">Kevin Eubanks\u003c/a>, who encouraged him to move to New York.\u003c/p>\n\u003cp>Leaving Venezuela was just the first in a series of disorienting leaps that have marked Simon’s career. Landing in Manhattan in 1988, he quickly established himself as an essential new voice through touring and recording with altoist \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Watson\">Bobby Watson\u003c/a> and trumpeter \u003ca href=\"http://www.terenceblanchard.com\">Terence Blanchard\u003c/a>. Part of a wave of brilliant Latin-American musicians infusing the New York scene with influences beyond Cuba and Brazil, Simon recorded a series of acclaimed albums documenting his growing ambition as a composer. Years later, looking for a family-friendly environment to raise a family, he and his wife relocated to central Florida, which he used a base for a decade of international touring and teaching.\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/NXSG-Jf-7WA'\n title='//www.youtube.com/embed/NXSG-Jf-7WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then, much like Simon’s father sought out a fertile environment for his son, the Simon clan decided to head to the Bay Area last year — eventually settling in Emeryville, where Simon’s son attends the \u003ca href=\"http://www.oakarts.org\">Oakland School for the Arts\u003c/a>. In many ways, he’s in the process of introducing himself to the Bay Area scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m still finding my way,” says Simon, 46, who opens a three-night run Friday at the SFJAZZ Center’s intimate \u003ca href=\"http://www.sfjazz.org/events/sessions/2015/0807/edward-simon\">Joe Henderson Lab\u003c/a> with his New York trio featuring bassist \u003ca href=\"http://www.joemartinbass.com\">Joe Martin\u003c/a> and drummer \u003ca href=\"http://www.adamcruz.net\">Adam Cruz\u003c/a>. “I run into a lot of people in a similar situation, and they all say it takes about two years before you feel like you’re in a groove. It’s kind of a drastic move at this age, much different than when you’re in your twenties or even thirties.”\u003c/p>\n\u003cp>It’s fair to note that Simon had a head start, as he’s held down the piano chair in the all-star \u003ca href=\"http://www.sfjazz.org/sfjazzcollective\">SFJAZZ Collective\u003c/a> since 2010. Impressed by many of the Bay Area players he’s encountered, Simon has primarily accessed the local scene via the extensive educational resources available to talented and motivated young musicians. As soon as word got out that he was relocating to the Bay Area, Simon got a call from pianist Susan Muscarella, the founder and director of Berkeley’s \u003ca href=\"http://cjc.edu\">California Jazz Conservatory\u003c/a>. Last year, he co-taught a CJC course on Afro-Venezuelan music with \u003ca href=\"http://www.jackelinerago.com\">Jackeline Rago\u003c/a>, the Caracas-born Bay Area cuatro and percussion master, “and hopefully we’ll be offering it again this fall,” he says.\u003c/p>\n\u003cp>This spring, Simon served as artist-in-residence at the \u003ca href=\"http://www.pacific.edu/Brubeck-Home.html\">Brubeck Institute\u003c/a> at the University of the Pacific in Stockton, and he’s been invited back as faculty in the fall. But the most important venue for connecting with Bay Area artists has been \u003ca href=\"http://www.jazzcampwest.com\">Jazz Camp West\u003c/a> in La Honda, the immersive summer camp-like program that’s nurtured a family vibe among master musicians and students for more than three decades.\u003c/p>\n\u003cp>Oakland percussion maestro \u003ca href=\"http://www.johnsantos.com\">John Santos\u003c/a>, a longtime JCW faculty member, had been telling Simon about the camp for several years, “but you can’t really understand what it’s like until you’ve done it,” Simon says. “It’s an incredible experience in terms of bonding and the communal vibe that’s generated. There’s no cell phone reception and no internet, so you’re immersed in this experience learning about jazz.”\u003c/p>\n\u003cp>Simon connected with East Bay players like trumpeter \u003ca href=\"http://www.erikjekabson.com/bio/\">Erik Jekabson\u003c/a> and bassist \u003ca href=\"https://www.facebook.com/scottonthabass/info?tab=page_info\">Scott Thompson\u003c/a>, and bonded particularly with Denver pianist Art Lande. Something of an underground legend, Lande made a point of introducing him to the Bay Area players in his band Shapeshifter: reed expert \u003ca href=\"http://www.paulmccandless.com\">Paul McCandless\u003c/a>, bassist \u003ca href=\"http://www.peterbarshay.com\">Peter Barshay\u003c/a>, and drummer \u003ca href=\"http://www.jazzdrumming.com\">Alan Hall\u003c/a>. “Art said ‘Edward just moved to town, you should do some playing,’” Simon says. “It was so welcoming, completely opening the door for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With his singular vision encompassing jazz and Latin American standards and folkloric traditions, Simon is ideally prepared to contribute to the Bay Area fray.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265559\" 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>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EP5McgAsOCJtUTxit2gP40ZyCtaBzMSt\"]\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SMBzNtzAsYw&feature=youtu.be\u003c/p>\n\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n",
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"content": "\u003cp>My favorite celebrity couple (after Winona Ryder and Johnny Depp of course) is Gwen Stefani and Gavin Rossdale. They met on tour in 1995 and became the prom king and queen of a certain branch of popular music. Then, they broke up and Gwen wrote blistering breakup songs like this one:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Yqru5UXWGY\u003c/p>\n\u003cp>\"I kinda always knew I'd end up your ex-girlfriend. I hope I hold a special place with the rest of them,\" Gwen spat.\u003c/p>\n\u003cp>But they got back together! And got married in 2002! And had three kids! And all the other sad songs from No Doubt's \u003cem>Return of Saturn\u003c/em> about Gavin became nothing more than neat little relics of a moment in time when the star-crossed Gwen and Gavin were briefly, wrongly apart.\u003c/p>\n\u003cp>Unfortunately, according to TMZ, destiny is taking back this particular happily ever after, as Gwen and Gavin have \u003ca href=\"http://www.tmz.com/2015/08/03/gwen-stefani-files-for-divorce-gavin-rossdale/\" target=\"_blank\">filed for divorce\u003c/a>. This is the music world's version of Amy Poehler and Will Arnett.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What to do with this information? Wallow for an unhealthy amount of time, duh.\u003c/p>\n\u003cp>You could look up old photos of them hugging and kissing and stuff (although I just did this and can't recommend it).\u003c/p>\n\u003cp>You could listen to Gwen sing about how she loves Gavin so much that she wants to wash in his bathwater:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8k_g9hDeOic\u003c/p>\n\u003cp>You could watch Gwen run around distraught in a wedding dress, as she sings about how much she wishes she could marry Gavin:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kRpZJ9EgJho\u003c/p>\n\u003cp>Or, even though it's not about him, you could listen to one of the best breakup songs ever:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TR3Vdo5etCQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>R.I.P. Gwen and Gavin. Your candle burned out long before your legend ever did.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My favorite celebrity couple (after Winona Ryder and Johnny Depp of course) is Gwen Stefani and Gavin Rossdale. They met on tour in 1995 and became the prom king and queen of a certain branch of popular music. Then, they broke up and Gwen wrote blistering breakup songs like this one:\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/8Yqru5UXWGY'\n title='//www.youtube.com/embed/8Yqru5UXWGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I kinda always knew I'd end up your ex-girlfriend. I hope I hold a special place with the rest of them,\" Gwen spat.\u003c/p>\n\u003cp>But they got back together! And got married in 2002! And had three kids! And all the other sad songs from No Doubt's \u003cem>Return of Saturn\u003c/em> about Gavin became nothing more than neat little relics of a moment in time when the star-crossed Gwen and Gavin were briefly, wrongly apart.\u003c/p>\n\u003cp>Unfortunately, according to TMZ, destiny is taking back this particular happily ever after, as Gwen and Gavin have \u003ca href=\"http://www.tmz.com/2015/08/03/gwen-stefani-files-for-divorce-gavin-rossdale/\" target=\"_blank\">filed for divorce\u003c/a>. This is the music world's version of Amy Poehler and Will Arnett.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What to do with this information? Wallow for an unhealthy amount of time, duh.\u003c/p>\n\u003cp>You could look up old photos of them hugging and kissing and stuff (although I just did this and can't recommend it).\u003c/p>\n\u003cp>You could listen to Gwen sing about how she loves Gavin so much that she wants to wash in his bathwater:\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/8k_g9hDeOic'\n title='//www.youtube.com/embed/8k_g9hDeOic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You could watch Gwen run around distraught in a wedding dress, as she sings about how much she wishes she could marry Gavin:\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/kRpZJ9EgJho'\n title='//www.youtube.com/embed/kRpZJ9EgJho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or, even though it's not about him, you could listen to one of the best breakup songs ever:\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/TR3Vdo5etCQ'\n title='//www.youtube.com/embed/TR3Vdo5etCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>R.I.P. Gwen and Gavin. Your candle burned out long before your legend ever did.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In East Palo Alto, a Rap Duo's New Chapter Begins",
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"content": "\u003cp>For Band Aide, one half of East Palo Alto-based rap duo Hoodstarz, 2012 was a year of dramatic change. There came freedom: after an 18-month stint in San Francisco County Jail and a halfway house, he was finally free to return to his life and family.\u003c/p>\n\u003cp>But there was also tragedy. That same year, his stepbrother was shot and killed. The event admittedly had Band Aide “kind of going haywire,” and he knew he needed a change of pace.\u003c/p>\n\u003cp>Instead of jumping back into the music he and partner Scoot Dogg had been creating for nearly a decade (they were among the leading voices of the mid-2000s \u003ca href=\"https://en.wikipedia.org/wiki/Hyphy\" target=\"_blank\" rel=\"noopener\">hyphy scene\u003c/a>), he decided to take a step back and hone a new craft. After enrolling in a one-year program at \u003ca href=\"http://www.chefs.edu/\" target=\"_blank\" rel=\"noopener\">Le Cordon Bleu\u003c/a>, he dedicated himself to becoming a chef.\u003c/p>\n\u003cp>Once he completed eight months of formal study and four months as a line chef at Los Altos Golf and Country Club, Band Aide graduated from the culinary institution, a fascinating next step for the rapper — and one Band Aide admits he needed.\u003c/p>\n\u003cp>“I [cook] to get away from a lot of the madness,” he explains. “I try to practice my four T’s: Take Time to Think,” and points out that shifting his focus from rapping to cooking “gave me a lot of time to think about what I wanted to do and how I wanted to do it, to get my priorities back in order… It’s definitely an art I can have and take with me forever, no matter how old I get. As long as I’m able to move around, I’ll always be able to cook.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While his time at Le Cordon Bleu granted him some time away from beats and rhymes, his focus has since returned to music — he and fellow Hoodstarz member Scoot Dogg have been busy independently promoting their mixtape \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em> since last November. But he’s still been able to put his culinary skills to good use. As he notes recently over hearty portions of Mexican food at El Burro in Campbell, he’s now able to better cook for “my peoples.”\u003c/p>\n\u003cp>He’s talking about the 20 people he and his wife, Tannea Gardner, oversee as part of their nonprofit, A Gardner’s Heart Independent Living, which supplies housing and services to mental health patients. What started with a single patient in a rented home nearly five years ago has since blossomed to three homes in the East Bay.\u003c/p>\n\u003cp>“Our main goal is to help them stay out of a hospital, to keep them positive and away from the dangers that come with being a mental health patient,” explains Tannea Gardner. Services include taking care of meals, transportation, case management, help with doctor’s appointments and day-to-day living.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note: embedded videos contain explicit language.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/O4SceLSPfno\u003c/p>\n\u003cp>Though Band Aide served time for a marijuana-related charge, he was initially arraigned as part of an arrest of 30 suspected members of a Bay Area gang known as the Taliban. He contends he didn’t know most of the other suspects arrested as part of the same sweep. His release was unexpected — before he earned probation, he’d last heard he was set to serve 20 years.\u003c/p>\n\u003cp>Thinking back on his time away from music and family, he’s quick to admit that “I wasn’t thinking about rapping. That was the furthest thing from my mind. I was thinking about getting back to my family” — though he adds that “once I got home, it was back to business, and back to music.”\u003c/p>\n\u003cp>This past November, the Hoodstarz finally returned in earnest with \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em>, hosted by the influential DJ Drama. Their latest covers everything from turn-up club bangers to introspective takes on the pain both endured during that long period of silence.\u003c/p>\n\u003cp>Band Aide and Scoot Dogg fully embraced their project as a chance to start fresh. Every piece of the project was created from scratch rather than mining past material. They even went so far as to both shed their long-held dreadlocks.\u003c/p>\n\u003cp>“For so long, we had to hold our tongues, whether it was music or talking in public — even talking to our own loved ones,” says Scoot about dealing with Band Aide’s sentencing and litigation. While releases did trickle out during his stint, Scoot says they were watered-down. \u003cem>56 Months\u003c/em> was their chance to speak again without a filter.\u003c/p>\n\u003cp>Though they started in separate groups — Band Aide was formerly part of Neva Legal; while Scoot was in Totally Insane, the founding fathers of East Palo Alto rap — they formally joined forces in the early 2000s, gaining attention with their 2004 single “Can’t Leave Rap Alone” featuring Keak Da Sneak, originator of the term “hyphy” and a major presence in the Bay’s subsequent hyphy movement.\u003c/p>\n\u003cp>Hoodstarz furthered their own mark on that scene with the release of their full-length debut, \u003cem>Hood Reality\u003c/em>, in January 2006. Their buzz continued to grow when major label Warner picked up sophomore effort Band Aide and Scoot, which dropped in September that same year. It notably featured the remix to “Getz Ya Grown Man On,” which became a signature hit of the hyphy era and featured a who’s who of Bay heavyweights at the time, including Mistah F.A.B., San Quinn, Clyde Carson and Turf Talk and production by Traxamillion.\u003c/p>\n\u003cp>\u003cem>Controversy\u003c/em> and \u003cem>Hoodstarz Radio\u003c/em> followed in 2010 and 2011 respectively, though neither were able to further the group’s momentum in the wake of hyphy falling out of style. For the genre, national fame proved elusive outside of E-40’s “Tell Me When to Go” and Too Short’s “Blow the Whistle.”\u003c/p>\n\u003cp>https://youtu.be/wWUL-BwO0CQ\u003c/p>\n\u003cp>Unlike other names from the hyphy era, the Hoodstarz may be the only group to hail from tiny East Palo Alto, the oft-overlooked community of roughly 28,000 located right in the middle of a now-thriving Silicon Valley and next door to world-renowned Stanford University. But the town has never been able to enjoy the same success that surrounds it. In 1992, the city earned the unfortunate distinction of being named the city with the highest homicide rate in the nation.\u003c/p>\n\u003cp>Scoot and Band Aide grew up in the middle of it — and got caught up. Before his recent jail sentence, Band Aide spent five years at San Quentin State Prison, and was released in 2002. Scoot went through similar tribulations, spending 18 months in a juvenile correctional facility. Having seen the consequences that come with street life, they both committed to a better future by pursuing music full-time, even though it’s not easy.\u003c/p>\n\u003cp>“Coming out of there and trying to do some music, or anything else, was a difficult task,” says Scoot Dogg, who points to difficulties of building a sustainable buzz within a town that only encompasses two and a half square miles. “Even if everybody in East Palo Alto bought a Hoodstarz CD, it wouldn’t be enough. It wouldn’t be more than half of Oakland or a piece of San Francisco or a quarter of San Jose.”\u003c/p>\n\u003cp>While pondering their next steps, the two met DJ Drama through a mutual friend at a party in Los Angeles. A towering figure in the hip-hop community, DJ Drama was instrumental in the mainstream rise of Southern hip-hop in the mid to late 2000s; with his mixtapes, he helped launch the careers of artists like T.I., Young Jeezy, Gucci Mane and Lil’ Wayne. Drama agreed to release \u003cem>56 Months\u003c/em> as part of his celebrated Gangsta Grillz series, a high-profile way for the Hoodstarz to reintroduce themselves.\u003c/p>\n\u003cp>“When a lot of the stuff was really going on with us and we couldn’t say too much or put music out, we were only able to put out music that was basically picked over,” adds Scoot Dogg. “[With] \u003cem>56 Months, \u003c/em>we got our freedom back.”\u003c/p>\n\u003cp>https://youtu.be/2Z5gWkDwMZQ\u003c/p>\n\u003cp>The release has been a success, and though mixtape stats are notoriously hard to track, it’s received more than 150,000 plays since its release. It enlists help from current industry heavyweights as well as local standouts — DJ Mustard and Ty Dolla $ign both make appearances, in addition to the Bay Area’s Too Short, Mistah F.A.B, J. Stalin and Clyde Carson.\u003c/p>\n\u003cp>The 18-track project tackles plenty during its 65-minute run time. Darker themes undercut brooding tracks like “Dope Fiend Music” and “Nobody’s Safe,” alongside party tracks like “Kush Clouds” and moments of nervous catharsis on “Feared than Loved.” Certain tracks carry a powerful duality, pairing pent-up frustration with the relief of regained self-expression.\u003c/p>\n\u003cp>On album standout “I’ll Be Right There,” Mike Frost brings the topic of loyalty front and center, singing “I still remember yesterday when we ain’t have a dime / So if you ever call on me, I’ll be right there” during the track’s chorus.\u003c/p>\n\u003cp>While certain songs on \u003cem>56 Months\u003c/em> mention those who turned their backs, both members also recall the outpouring of support they received when they finally got back to work. In particular, the two shout-out Oakland production duo the Mekanix, long-time collaborators who had a hand in 10 of the album’s 18 beats. Band Aide notes that they were “brothers when brothers needed brothers.”\u003c/p>\n\u003cp>While he and partner Scoot may have have dealt with plenty of setbacks over the past few years, he recognizes the success they’ve enjoyed as recording artists. They emerged from the streets of East Palo Alto, and with each new project they continue to stand as examples of success in their community.\u003c/p>\n\u003cp>“Even if we didn’t make it as big as we always dreamed of making it, we still made it further than a lot of people,” he says. “It’s hard for me to hold a smile, but I do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>’56 Months,’ hosted by DJ Drama, is available for purchase via \u003ca href=\"https://itunes.apple.com/us/album/dj-drama-presents-56-months/id923640146\">iTunes \u003c/a>or download via \u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\">LiveMixtapes\u003c/a>. For more information on the Hoodstarz, visit \u003ca href=\"http://www.thehoodstarz.info/\">thehoodstarz.info\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Band Aide, one half of East Palo Alto-based rap duo Hoodstarz, 2012 was a year of dramatic change. There came freedom: after an 18-month stint in San Francisco County Jail and a halfway house, he was finally free to return to his life and family.\u003c/p>\n\u003cp>But there was also tragedy. That same year, his stepbrother was shot and killed. The event admittedly had Band Aide “kind of going haywire,” and he knew he needed a change of pace.\u003c/p>\n\u003cp>Instead of jumping back into the music he and partner Scoot Dogg had been creating for nearly a decade (they were among the leading voices of the mid-2000s \u003ca href=\"https://en.wikipedia.org/wiki/Hyphy\" target=\"_blank\" rel=\"noopener\">hyphy scene\u003c/a>), he decided to take a step back and hone a new craft. After enrolling in a one-year program at \u003ca href=\"http://www.chefs.edu/\" target=\"_blank\" rel=\"noopener\">Le Cordon Bleu\u003c/a>, he dedicated himself to becoming a chef.\u003c/p>\n\u003cp>Once he completed eight months of formal study and four months as a line chef at Los Altos Golf and Country Club, Band Aide graduated from the culinary institution, a fascinating next step for the rapper — and one Band Aide admits he needed.\u003c/p>\n\u003cp>“I [cook] to get away from a lot of the madness,” he explains. “I try to practice my four T’s: Take Time to Think,” and points out that shifting his focus from rapping to cooking “gave me a lot of time to think about what I wanted to do and how I wanted to do it, to get my priorities back in order… It’s definitely an art I can have and take with me forever, no matter how old I get. As long as I’m able to move around, I’ll always be able to cook.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While his time at Le Cordon Bleu granted him some time away from beats and rhymes, his focus has since returned to music — he and fellow Hoodstarz member Scoot Dogg have been busy independently promoting their mixtape \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em> since last November. But he’s still been able to put his culinary skills to good use. As he notes recently over hearty portions of Mexican food at El Burro in Campbell, he’s now able to better cook for “my peoples.”\u003c/p>\n\u003cp>He’s talking about the 20 people he and his wife, Tannea Gardner, oversee as part of their nonprofit, A Gardner’s Heart Independent Living, which supplies housing and services to mental health patients. What started with a single patient in a rented home nearly five years ago has since blossomed to three homes in the East Bay.\u003c/p>\n\u003cp>“Our main goal is to help them stay out of a hospital, to keep them positive and away from the dangers that come with being a mental health patient,” explains Tannea Gardner. Services include taking care of meals, transportation, case management, help with doctor’s appointments and day-to-day living.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note: embedded videos contain explicit language.\u003c/strong>\u003c/em>\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/O4SceLSPfno'\n title='//www.youtube.com/embed/O4SceLSPfno'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though Band Aide served time for a marijuana-related charge, he was initially arraigned as part of an arrest of 30 suspected members of a Bay Area gang known as the Taliban. He contends he didn’t know most of the other suspects arrested as part of the same sweep. His release was unexpected — before he earned probation, he’d last heard he was set to serve 20 years.\u003c/p>\n\u003cp>Thinking back on his time away from music and family, he’s quick to admit that “I wasn’t thinking about rapping. That was the furthest thing from my mind. I was thinking about getting back to my family” — though he adds that “once I got home, it was back to business, and back to music.”\u003c/p>\n\u003cp>This past November, the Hoodstarz finally returned in earnest with \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em>, hosted by the influential DJ Drama. Their latest covers everything from turn-up club bangers to introspective takes on the pain both endured during that long period of silence.\u003c/p>\n\u003cp>Band Aide and Scoot Dogg fully embraced their project as a chance to start fresh. Every piece of the project was created from scratch rather than mining past material. They even went so far as to both shed their long-held dreadlocks.\u003c/p>\n\u003cp>“For so long, we had to hold our tongues, whether it was music or talking in public — even talking to our own loved ones,” says Scoot about dealing with Band Aide’s sentencing and litigation. While releases did trickle out during his stint, Scoot says they were watered-down. \u003cem>56 Months\u003c/em> was their chance to speak again without a filter.\u003c/p>\n\u003cp>Though they started in separate groups — Band Aide was formerly part of Neva Legal; while Scoot was in Totally Insane, the founding fathers of East Palo Alto rap — they formally joined forces in the early 2000s, gaining attention with their 2004 single “Can’t Leave Rap Alone” featuring Keak Da Sneak, originator of the term “hyphy” and a major presence in the Bay’s subsequent hyphy movement.\u003c/p>\n\u003cp>Hoodstarz furthered their own mark on that scene with the release of their full-length debut, \u003cem>Hood Reality\u003c/em>, in January 2006. Their buzz continued to grow when major label Warner picked up sophomore effort Band Aide and Scoot, which dropped in September that same year. It notably featured the remix to “Getz Ya Grown Man On,” which became a signature hit of the hyphy era and featured a who’s who of Bay heavyweights at the time, including Mistah F.A.B., San Quinn, Clyde Carson and Turf Talk and production by Traxamillion.\u003c/p>\n\u003cp>\u003cem>Controversy\u003c/em> and \u003cem>Hoodstarz Radio\u003c/em> followed in 2010 and 2011 respectively, though neither were able to further the group’s momentum in the wake of hyphy falling out of style. For the genre, national fame proved elusive outside of E-40’s “Tell Me When to Go” and Too Short’s “Blow the Whistle.”\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/wWUL-BwO0CQ'\n title='//www.youtube.com/embed/wWUL-BwO0CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike other names from the hyphy era, the Hoodstarz may be the only group to hail from tiny East Palo Alto, the oft-overlooked community of roughly 28,000 located right in the middle of a now-thriving Silicon Valley and next door to world-renowned Stanford University. But the town has never been able to enjoy the same success that surrounds it. In 1992, the city earned the unfortunate distinction of being named the city with the highest homicide rate in the nation.\u003c/p>\n\u003cp>Scoot and Band Aide grew up in the middle of it — and got caught up. Before his recent jail sentence, Band Aide spent five years at San Quentin State Prison, and was released in 2002. Scoot went through similar tribulations, spending 18 months in a juvenile correctional facility. Having seen the consequences that come with street life, they both committed to a better future by pursuing music full-time, even though it’s not easy.\u003c/p>\n\u003cp>“Coming out of there and trying to do some music, or anything else, was a difficult task,” says Scoot Dogg, who points to difficulties of building a sustainable buzz within a town that only encompasses two and a half square miles. “Even if everybody in East Palo Alto bought a Hoodstarz CD, it wouldn’t be enough. It wouldn’t be more than half of Oakland or a piece of San Francisco or a quarter of San Jose.”\u003c/p>\n\u003cp>While pondering their next steps, the two met DJ Drama through a mutual friend at a party in Los Angeles. A towering figure in the hip-hop community, DJ Drama was instrumental in the mainstream rise of Southern hip-hop in the mid to late 2000s; with his mixtapes, he helped launch the careers of artists like T.I., Young Jeezy, Gucci Mane and Lil’ Wayne. Drama agreed to release \u003cem>56 Months\u003c/em> as part of his celebrated Gangsta Grillz series, a high-profile way for the Hoodstarz to reintroduce themselves.\u003c/p>\n\u003cp>“When a lot of the stuff was really going on with us and we couldn’t say too much or put music out, we were only able to put out music that was basically picked over,” adds Scoot Dogg. “[With] \u003cem>56 Months, \u003c/em>we got our freedom back.”\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/2Z5gWkDwMZQ'\n title='//www.youtube.com/embed/2Z5gWkDwMZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The release has been a success, and though mixtape stats are notoriously hard to track, it’s received more than 150,000 plays since its release. It enlists help from current industry heavyweights as well as local standouts — DJ Mustard and Ty Dolla $ign both make appearances, in addition to the Bay Area’s Too Short, Mistah F.A.B, J. Stalin and Clyde Carson.\u003c/p>\n\u003cp>The 18-track project tackles plenty during its 65-minute run time. Darker themes undercut brooding tracks like “Dope Fiend Music” and “Nobody’s Safe,” alongside party tracks like “Kush Clouds” and moments of nervous catharsis on “Feared than Loved.” Certain tracks carry a powerful duality, pairing pent-up frustration with the relief of regained self-expression.\u003c/p>\n\u003cp>On album standout “I’ll Be Right There,” Mike Frost brings the topic of loyalty front and center, singing “I still remember yesterday when we ain’t have a dime / So if you ever call on me, I’ll be right there” during the track’s chorus.\u003c/p>\n\u003cp>While certain songs on \u003cem>56 Months\u003c/em> mention those who turned their backs, both members also recall the outpouring of support they received when they finally got back to work. In particular, the two shout-out Oakland production duo the Mekanix, long-time collaborators who had a hand in 10 of the album’s 18 beats. Band Aide notes that they were “brothers when brothers needed brothers.”\u003c/p>\n\u003cp>While he and partner Scoot may have have dealt with plenty of setbacks over the past few years, he recognizes the success they’ve enjoyed as recording artists. They emerged from the streets of East Palo Alto, and with each new project they continue to stand as examples of success in their community.\u003c/p>\n\u003cp>“Even if we didn’t make it as big as we always dreamed of making it, we still made it further than a lot of people,” he says. “It’s hard for me to hold a smile, but I do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>’56 Months,’ hosted by DJ Drama, is available for purchase via \u003ca href=\"https://itunes.apple.com/us/album/dj-drama-presents-56-months/id923640146\">iTunes \u003c/a>or download via \u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\">LiveMixtapes\u003c/a>. For more information on the Hoodstarz, visit \u003ca href=\"http://www.thehoodstarz.info/\">thehoodstarz.info\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BdHK_r9RXTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco punk band Flipper, once described by Henry Rollins as being “heavier than anything,” announced Friday that they will reunite for a series of shows this fall with a new singer: former Jesus Lizard frontman David Yow.\u003c/p>\n\u003cp>The band will tour Italy in November with Yow, and will possibly play shows in San Francisco and Los Angeles with this lineup around the same time, according to drummer Stephen DePace.\u003c/p>\n\u003cp>Started in 1979 by former members of local punk band Negative Trend, Flipper became the scourge of the early ’80s punk scene, refusing to follow the pack of fast-and-violent hardcore bands of the day. Instead, the band made its reputation as being the band punks loved to hate by playing long, slow dirges that were driven by bass riffs, DePace’s plodding drums and Ted Falconi’s out-of-control guitar sound. Their sound would influence bands like Nirvana and the Melvins, and they would later be referred to as the godfathers of grunge music.\u003c/p>\n\u003cp>The band broke up in 1987 after bassist Will Shatter died of a drug overdose, but reunited in 1990 with new bassist John Dougherty just as grunge was about to break into the mainstream. Two years later they were signed to Def American Records by founder and massive Flipper fan \u003ca href=\"https://en.wikipedia.org/wiki/Rick_Rubin\" target=\"_blank\" rel=\"noopener\">Rick Rubin\u003c/a>; around the same time Nirvana’s Kurt Cobain would be photographed wearing a homemade Flipper t-shirt, sparking a renewed interest in the band. \u003c/p>\n\u003cp>The band released their comeback album \u003ci>American Graffishy\u003c/i> in 1993, but a car accident the following year broke singer Bruce “Loose” Calderwood’s back, forcing the band to abruptly end. In 2005, the band reunited again with longtime backup bassist Bruno DeSmartass — DePace says Dougherty died of a drug overdose in 1995 — and played several high profile shows before DeSmartass dropped out and was replaced by Nirvana bassist Krist Novoselic. Flipper would go onto to record two albums with Novoselic: 2009’s \u003ci>Love\u003c/i> and the live album \u003ci>Fight.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to spinal surgery, Calderwood had been able to keep up with the band’s taxing tour schedule around that time, but another back injury in late 2009 made playing regularly difficult again.\u003c/p>\n\u003cp>DePace says that a promoter in Italy reached out to the group earlier this year about playing three shows there in November, but Calderwood’s back issues were impossible for the singer to overcome. Unable to give up on the idea, DePace says inspiration struck early this month when at a Chrome show in Los Angeles, Yow joined the legendary San Francisco group for a song.\u003c/p>\n\u003cp>“Then I saw David Yow with Chrome, and I was like, ‘Maybe I could ask him to do it?'” DePace says. “He was really into it; he said he was honored to be asked.”\u003c/p>\n\u003cp>Now a working actor and painter, Yow spent many years fronting seminal post-punk bands Scratch Acid and the Jesus Lizard, who garnered reputation as a mammoth live band, due in part to Yow’s nonstop stage-diving. (Watch Jesus Lizard perform “Monkey Trick” at CBGB’s in 1992 \u003ca href=\"https://www.youtube.com/watch?v=hX0iY183ecM\" target=\"_blank\" rel=\"noopener\">on YouTube.\u003c/a>)\u003c/p>\n\u003cp>The band will begin rehearsing in August without Yow, who lives in L.A., according to DePace. The full band should be practicing by September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the band’s official statement about Calderwood leaving the band and Yow replacing him:\u003c/i> \u003c/p>\n\u003cblockquote>\u003cp>Bruce Loose is retired from Flipper! He has suffered from a broken back since 1994. It has gotten to the point now where Bruce finds it impossible to continue with performing and touring.\u003c/p>\n\u003cp>We want to thank Bruce for being part of what was a hell of a run from 1979 to now!\u003c/p>\n\u003cp>With all the ups and downs and craziness that is all part of the punk rock package we managed to make “music history” with this band. For that and all the fun we had, we are eternally grateful.\u003c/p>\n\u003cp>Bruce is moving on to do solo projects and Ted Falconi along with Steve DePace are going to carry on with long time 5th Flipper, Bruno DeSmartass on bass and we will be performing 3 shows in Italy with David Yow, formerly of Scratch Acid and The Jesus Lizard.\u003c/p>\u003c/blockquote>\n\n",
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"excerpt": "Flipper rules, okay? And having David Yow (Jesus Lizard, Scratch Acid) taking over as singer is kind of a big deal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco punk band Flipper, once described by Henry Rollins as being “heavier than anything,” announced Friday that they will reunite for a series of shows this fall with a new singer: former Jesus Lizard frontman David Yow.\u003c/p>\n\u003cp>The band will tour Italy in November with Yow, and will possibly play shows in San Francisco and Los Angeles with this lineup around the same time, according to drummer Stephen DePace.\u003c/p>\n\u003cp>Started in 1979 by former members of local punk band Negative Trend, Flipper became the scourge of the early ’80s punk scene, refusing to follow the pack of fast-and-violent hardcore bands of the day. Instead, the band made its reputation as being the band punks loved to hate by playing long, slow dirges that were driven by bass riffs, DePace’s plodding drums and Ted Falconi’s out-of-control guitar sound. Their sound would influence bands like Nirvana and the Melvins, and they would later be referred to as the godfathers of grunge music.\u003c/p>\n\u003cp>The band broke up in 1987 after bassist Will Shatter died of a drug overdose, but reunited in 1990 with new bassist John Dougherty just as grunge was about to break into the mainstream. Two years later they were signed to Def American Records by founder and massive Flipper fan \u003ca href=\"https://en.wikipedia.org/wiki/Rick_Rubin\" target=\"_blank\" rel=\"noopener\">Rick Rubin\u003c/a>; around the same time Nirvana’s Kurt Cobain would be photographed wearing a homemade Flipper t-shirt, sparking a renewed interest in the band. \u003c/p>\n\u003cp>The band released their comeback album \u003ci>American Graffishy\u003c/i> in 1993, but a car accident the following year broke singer Bruce “Loose” Calderwood’s back, forcing the band to abruptly end. In 2005, the band reunited again with longtime backup bassist Bruno DeSmartass — DePace says Dougherty died of a drug overdose in 1995 — and played several high profile shows before DeSmartass dropped out and was replaced by Nirvana bassist Krist Novoselic. Flipper would go onto to record two albums with Novoselic: 2009’s \u003ci>Love\u003c/i> and the live album \u003ci>Fight.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to spinal surgery, Calderwood had been able to keep up with the band’s taxing tour schedule around that time, but another back injury in late 2009 made playing regularly difficult again.\u003c/p>\n\u003cp>DePace says that a promoter in Italy reached out to the group earlier this year about playing three shows there in November, but Calderwood’s back issues were impossible for the singer to overcome. Unable to give up on the idea, DePace says inspiration struck early this month when at a Chrome show in Los Angeles, Yow joined the legendary San Francisco group for a song.\u003c/p>\n\u003cp>“Then I saw David Yow with Chrome, and I was like, ‘Maybe I could ask him to do it?'” DePace says. “He was really into it; he said he was honored to be asked.”\u003c/p>\n\u003cp>Now a working actor and painter, Yow spent many years fronting seminal post-punk bands Scratch Acid and the Jesus Lizard, who garnered reputation as a mammoth live band, due in part to Yow’s nonstop stage-diving. (Watch Jesus Lizard perform “Monkey Trick” at CBGB’s in 1992 \u003ca href=\"https://www.youtube.com/watch?v=hX0iY183ecM\" target=\"_blank\" rel=\"noopener\">on YouTube.\u003c/a>)\u003c/p>\n\u003cp>The band will begin rehearsing in August without Yow, who lives in L.A., according to DePace. The full band should be practicing by September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the band’s official statement about Calderwood leaving the band and Yow replacing him:\u003c/i> \u003c/p>\n\u003cblockquote>\u003cp>Bruce Loose is retired from Flipper! He has suffered from a broken back since 1994. It has gotten to the point now where Bruce finds it impossible to continue with performing and touring.\u003c/p>\n\u003cp>We want to thank Bruce for being part of what was a hell of a run from 1979 to now!\u003c/p>\n\u003cp>With all the ups and downs and craziness that is all part of the punk rock package we managed to make “music history” with this band. For that and all the fun we had, we are eternally grateful.\u003c/p>\n\u003cp>Bruce is moving on to do solo projects and Ted Falconi along with Steve DePace are going to carry on with long time 5th Flipper, Bruno DeSmartass on bass and we will be performing 3 shows in Italy with David Yow, formerly of Scratch Acid and The Jesus Lizard.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best songs released online this month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/July_Blogs_Pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halfway through the season, there are already some solid contenders for \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6620238/wiz-khalifa-see-you-again-no-1-song-of-the-summer\" target=\"_blank\" rel=\"noopener\">Song of the Summer\u003c/a> — there might even be a few in this batch. This month, we continue to track new music released online, cherry picking the very best for you. There’s new music from Beach House, Alice Glass of Crystal Castles, Chvchres and more.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Chili Town” – Hinds, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Oh Baby” – Micachu and the Shapes, \u003cem>Good Sad Happy Bad\u003c/em>\u003c/li>\n\u003cli>“Sparks” – Beach House, \u003cem>Depression Cherry\u003c/em>\u003c/li>\n\u003cli>“Norf Norf” – Vince Staples, \u003cem>Summertime ‘06\u003c/em>\u003c/li>\n\u003cli>“Everyday” – Diane Coffee, \u003cem>Everybody’s a Good Dog\u003c/em>\u003c/li>\n\u003cli>“Stillbirth” – Alice Glass, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Leave a Trace” – Chrvches, \u003cem>Every Open Eye\u003c/em>\u003c/li>\n\u003cli>“Gunga Din” – The Libertines, \u003cem>Anthem for Doomed Youth\u003c/em>\u003c/li>\n\u003cli>“That Kind of Girl” – All Dogs, \u003cem>Kicking Every Day\u003c/em>\u003c/li>\n\u003cli>“Book of Love” – Fraser A. Gorman, \u003cem>single\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best songs released online this month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/July_Blogs_Pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halfway through the season, there are already some solid contenders for \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6620238/wiz-khalifa-see-you-again-no-1-song-of-the-summer\" target=\"_blank\" rel=\"noopener\">Song of the Summer\u003c/a> — there might even be a few in this batch. This month, we continue to track new music released online, cherry picking the very best for you. There’s new music from Beach House, Alice Glass of Crystal Castles, Chvchres and more.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Chili Town” – Hinds, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Oh Baby” – Micachu and the Shapes, \u003cem>Good Sad Happy Bad\u003c/em>\u003c/li>\n\u003cli>“Sparks” – Beach House, \u003cem>Depression Cherry\u003c/em>\u003c/li>\n\u003cli>“Norf Norf” – Vince Staples, \u003cem>Summertime ‘06\u003c/em>\u003c/li>\n\u003cli>“Everyday” – Diane Coffee, \u003cem>Everybody’s a Good Dog\u003c/em>\u003c/li>\n\u003cli>“Stillbirth” – Alice Glass, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Leave a Trace” – Chrvches, \u003cem>Every Open Eye\u003c/em>\u003c/li>\n\u003cli>“Gunga Din” – The Libertines, \u003cem>Anthem for Doomed Youth\u003c/em>\u003c/li>\n\u003cli>“That Kind of Girl” – All Dogs, \u003cem>Kicking Every Day\u003c/em>\u003c/li>\n\u003cli>“Book of Love” – Fraser A. Gorman, \u003cem>single\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
"title": "Black Love Festival Engages More Young People in Black Lives Matter",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Organizers chose Bayview-Hunters Point to help reclaim S.F.'s historically African-American neighborhood",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\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-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\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/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
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