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"content": "\u003cp>R&B star Janelle Monáe and “\u003ca href=\"https://www.youtube.com/watch?v=nsiN0W15w0U\" target=\"_blank\" rel=\"noopener\">Classic Man\u003c/a>” hitmaker Jidenna are scheduled to appear at 24th and Mission on Sunday as part of a rally to recognize those killed by law enforcement.\u003c/p>\n\u003cp>Since releasing the percussive protest song “\u003ca href=\"https://www.youtube.com/watch?v=YHIUve8V2zo\" target=\"_blank\" rel=\"noopener\">Hell You Talmbout\u003c/a>,” which advocates for remembering the names of black victims of police abuse, Monáe and Jidenna have appeared in cities around the country to march in protest, discuss the issue, and perform the song. In Chicago, the artists were joined by the mother of Sandra Bland. Bland, an African-American woman, died in custody in Texas on \u003cspan class=\"nowrap\">July 13\u003c/span>, 2015.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YHIUve8V2zo\u003c/p>\n\u003cp>In an Instagram post upon the song’s release, Monáe wrote:\u003c/p>\n\u003cblockquote>\u003cp>This song is a vessel. It carries the unbearable anguish of millions. We recorded it to channel the pain, fear, and trauma caused by the ongoing slaughter of our brothers and sisters. We recorded it to challenge the indifference, disregard, and negligence of all who remain quiet about this issue. Silence is our enemy. Sound is our weapon.\u003c/p>\u003c/blockquote>\n\u003cp>Sunday’s event, starting at 12:30pm, includes a press conference and performance, as well as an “interactive community action,” according to the event’s \u003ca href=\"https://www.facebook.com/events/1050142544997942/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The free event is organized in conjunction with \u003ca href=\"http://stopmassincarceration.net/\" target=\"_blank\" rel=\"noopener\">Bay Area Stop Mass Incarceration Network\u003c/a>. More details and info \u003ca href=\"https://www.facebook.com/events/1050142544997942/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>R&B star Janelle Monáe and “\u003ca href=\"https://www.youtube.com/watch?v=nsiN0W15w0U\" target=\"_blank\" rel=\"noopener\">Classic Man\u003c/a>” hitmaker Jidenna are scheduled to appear at 24th and Mission on Sunday as part of a rally to recognize those killed by law enforcement.\u003c/p>\n\u003cp>Since releasing the percussive protest song “\u003ca href=\"https://www.youtube.com/watch?v=YHIUve8V2zo\" target=\"_blank\" rel=\"noopener\">Hell You Talmbout\u003c/a>,” which advocates for remembering the names of black victims of police abuse, Monáe and Jidenna have appeared in cities around the country to march in protest, discuss the issue, and perform the song. In Chicago, the artists were joined by the mother of Sandra Bland. Bland, an African-American woman, died in custody in Texas on \u003cspan class=\"nowrap\">July 13\u003c/span>, 2015.\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/YHIUve8V2zo'\n title='//www.youtube.com/embed/YHIUve8V2zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an Instagram post upon the song’s release, Monáe wrote:\u003c/p>\n\u003cblockquote>\u003cp>This song is a vessel. It carries the unbearable anguish of millions. We recorded it to channel the pain, fear, and trauma caused by the ongoing slaughter of our brothers and sisters. We recorded it to challenge the indifference, disregard, and negligence of all who remain quiet about this issue. Silence is our enemy. Sound is our weapon.\u003c/p>\u003c/blockquote>\n\u003cp>Sunday’s event, starting at 12:30pm, includes a press conference and performance, as well as an “interactive community action,” according to the event’s \u003ca href=\"https://www.facebook.com/events/1050142544997942/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>http://media.libsyn.com/media/thebaybridged/Experimental_Mix_2015.mp3\u003cbr>\n\u003cstrong>Download: \u003ca href=\"http://media.libsyn.com/media/thebaybridged/Experimental_Mix_2015.mp3\">Mixtape: Experimental Music from Bay Area Artists (Podcast #369)\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>We may focus most heavily on indie rock at \u003cem>The Bay Bridged\u003c/em>, but we also aren’t oblivious to the many talented local artists operating outside of standard rock and pop conventions. The Bay Area has long been home to talented experimental and avant-garde musicians who employ acoustic and electronic instruments in unique ways. We’ve collected music from twelve of these experimental local artists for this month’s mixtape — an impressive demonstration of the scene’s talent.\u003c/p>\n\u003cp>That’s not to say that there aren’t some more conventional elements being played with here. As you’ll hear in the mixtape’s opener, local musician \u003cstrong>\u003ca href=\"http://andrewweathers.com/\" target=\"_blank\" rel=\"noopener\">Andrew Weathers\u003c/a>\u003c/strong> crafts improv-driven songs blending compositional textures with folk and Americana. Improvisation also drives the duo \u003cstrong>\u003ca href=\"http://blackspirituals.com/\" target=\"_blank\" rel=\"noopener\">Black Spirituals\u003c/a>\u003c/strong>. Together, sound artist Zachary James Watkins and percussionist Marshall Trammell make captivating heavy psych; it’s no surprise the group recently toured with the band Earth.\u003c/p>\n\u003cp>Similarly heavy is the new collaborative release between \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/3-Leafs/101031226664279\" target=\"_blank\" rel=\"noopener\">3 Leafs\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Body-Swap/112658995420003\" target=\"_blank\" rel=\"noopener\">Body Swap\u003c/a>\u003c/strong>. And if you’re looking for warped, pastiche-laden post-punk, be sure to check out \u003cstrong>\u003ca href=\"http://www.notnotfun.com/posts/swanox-duskrunner-lp/\" target=\"_blank\" rel=\"noopener\">Swanox\u003c/a>\u003c/strong>, led by Anthony Orion (who also happens to be the drummer in Tony Molina’s band).\u003c/p>\n\u003cp>Equally impressive, though, is the variety of experimentally-inclined electronic artists in the Bay Area. Notably, two artists in this mix — \u003cstrong>\u003ca href=\"https://soundcloud.com/horaflora\" target=\"_blank\" rel=\"noopener\">Horaflora\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"http://www.kaitlynaureliasmith.com/\" target=\"_blank\" rel=\"noopener\">Kaitlyn Aurelia Smith\u003c/a>\u003c/strong> — will be performing at next month’s annual \u003ca href=\"http://www.sfemf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Electronic Music Festival\u003c/a>. Smith’s musical arc is fascinating: after studying composition at Berklee, she played in an indie-folk band before discovering a vintage synthesizer that led her into the hypnotic sound-sculpting you’ll hear in the song included here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two other electronic musicians in the mix straddle the worlds of the avant-garde and pop: \u003cstrong>\u003ca href=\"http://www.christopherwillits.com/\" target=\"_blank\" rel=\"noopener\">Christopher Willits\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"http://www.hollyherndon.com/\" target=\"_blank\" rel=\"noopener\">Holly Herndon\u003c/a>\u003c/strong>. Willits is a multimedia artist whose latest, \u003cem>OPENING\u003c/em>, is one-half synth-drenched album, one-half immersive video piece. Herndon’s \u003cem>Platform\u003c/em> arrived in May on 4AD, showcasing the San Francisco musician’s laptop-sampling wizardry. Another notable fact the two artists have in common: both have masters degrees in electronic music from Mills College, a school that has played an important role in fostering local experimental talent.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://andrewweathers.com/\" target=\"_blank\" rel=\"noopener\">Andrew Weathers Ensemble\u003c/a>\u003c/strong> – “Live By Golden Rule: Go Orange Be Strong”\u003cbr>\n\u003cstrong>\u003ca href=\"http://blackspirituals.com/\" target=\"_blank\" rel=\"noopener\">Black Spirituals\u003c/a>\u003c/strong> – “Black Resonance” (starts at 8:18)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.heule.us/voicehandler/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>\u003c/strong> – “A Meager Labyrinth” (14:20)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.kaitlynaureliasmith.com/\" target=\"_blank\" rel=\"noopener\">Kaitlyn Aurelia Smith\u003c/a>\u003c/strong> – “Tides V” (19:39)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.christopherwillits.com/\" target=\"_blank\" rel=\"noopener\">Christopher Willits\u003c/a>\u003c/strong> – “CLEAR” (26:40)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.chuckjohnson.net/\" target=\"_blank\" rel=\"noopener\">Chuck Johnson\u003c/a>\u003c/strong> – “Medicine Map” (excerpt) (32:18)\u003cbr>\n\u003cstrong>\u003ca href=\"https://adamjhirsch.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Adam Hirsch\u003c/a>\u003c/strong> – “Tunnelvision” (35:36)\u003cbr>\n\u003cstrong>\u003ca href=\"https://soundcloud.com/horaflora\" target=\"_blank\" rel=\"noopener\">Horaflora\u003c/a>\u003c/strong> – “The Gland Canyon” (excerpt) (45:51)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.notnotfun.com/posts/swanox-duskrunner-lp/\" target=\"_blank\" rel=\"noopener\">Swanox\u003c/a>\u003c/strong> – “Bank of the Orient” (48:58)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.hollyherndon.com/\" target=\"_blank\" rel=\"noopener\">Holly Herndon\u003c/a>\u003c/strong> – “Chorus” (55:11)\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/3-Leafs/101031226664279\" target=\"_blank\" rel=\"noopener\">3 Leafs\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Body-Swap/112658995420003\" target=\"_blank\" rel=\"noopener\">Body Swap\u003c/a>\u003c/strong> – “Before You Were Born” (1:01:00)\u003cbr>\n\u003cstrong>\u003ca href=\"http://palilalia.com/\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a>\u003c/strong> – “A Genealogy Of Dysfunction” (1:06:34)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://media.libsyn.com/media/thebaybridged/Experimental_Mix_2015.mp3\u003cbr>\n\u003cstrong>Download: \u003ca href=\"http://media.libsyn.com/media/thebaybridged/Experimental_Mix_2015.mp3\">Mixtape: Experimental Music from Bay Area Artists (Podcast #369)\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>We may focus most heavily on indie rock at \u003cem>The Bay Bridged\u003c/em>, but we also aren’t oblivious to the many talented local artists operating outside of standard rock and pop conventions. The Bay Area has long been home to talented experimental and avant-garde musicians who employ acoustic and electronic instruments in unique ways. We’ve collected music from twelve of these experimental local artists for this month’s mixtape — an impressive demonstration of the scene’s talent.\u003c/p>\n\u003cp>That’s not to say that there aren’t some more conventional elements being played with here. As you’ll hear in the mixtape’s opener, local musician \u003cstrong>\u003ca href=\"http://andrewweathers.com/\" target=\"_blank\" rel=\"noopener\">Andrew Weathers\u003c/a>\u003c/strong> crafts improv-driven songs blending compositional textures with folk and Americana. Improvisation also drives the duo \u003cstrong>\u003ca href=\"http://blackspirituals.com/\" target=\"_blank\" rel=\"noopener\">Black Spirituals\u003c/a>\u003c/strong>. Together, sound artist Zachary James Watkins and percussionist Marshall Trammell make captivating heavy psych; it’s no surprise the group recently toured with the band Earth.\u003c/p>\n\u003cp>Similarly heavy is the new collaborative release between \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/3-Leafs/101031226664279\" target=\"_blank\" rel=\"noopener\">3 Leafs\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Body-Swap/112658995420003\" target=\"_blank\" rel=\"noopener\">Body Swap\u003c/a>\u003c/strong>. And if you’re looking for warped, pastiche-laden post-punk, be sure to check out \u003cstrong>\u003ca href=\"http://www.notnotfun.com/posts/swanox-duskrunner-lp/\" target=\"_blank\" rel=\"noopener\">Swanox\u003c/a>\u003c/strong>, led by Anthony Orion (who also happens to be the drummer in Tony Molina’s band).\u003c/p>\n\u003cp>Equally impressive, though, is the variety of experimentally-inclined electronic artists in the Bay Area. Notably, two artists in this mix — \u003cstrong>\u003ca href=\"https://soundcloud.com/horaflora\" target=\"_blank\" rel=\"noopener\">Horaflora\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"http://www.kaitlynaureliasmith.com/\" target=\"_blank\" rel=\"noopener\">Kaitlyn Aurelia Smith\u003c/a>\u003c/strong> — will be performing at next month’s annual \u003ca href=\"http://www.sfemf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Electronic Music Festival\u003c/a>. Smith’s musical arc is fascinating: after studying composition at Berklee, she played in an indie-folk band before discovering a vintage synthesizer that led her into the hypnotic sound-sculpting you’ll hear in the song included here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two other electronic musicians in the mix straddle the worlds of the avant-garde and pop: \u003cstrong>\u003ca href=\"http://www.christopherwillits.com/\" target=\"_blank\" rel=\"noopener\">Christopher Willits\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"http://www.hollyherndon.com/\" target=\"_blank\" rel=\"noopener\">Holly Herndon\u003c/a>\u003c/strong>. Willits is a multimedia artist whose latest, \u003cem>OPENING\u003c/em>, is one-half synth-drenched album, one-half immersive video piece. Herndon’s \u003cem>Platform\u003c/em> arrived in May on 4AD, showcasing the San Francisco musician’s laptop-sampling wizardry. Another notable fact the two artists have in common: both have masters degrees in electronic music from Mills College, a school that has played an important role in fostering local experimental talent.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://andrewweathers.com/\" target=\"_blank\" rel=\"noopener\">Andrew Weathers Ensemble\u003c/a>\u003c/strong> – “Live By Golden Rule: Go Orange Be Strong”\u003cbr>\n\u003cstrong>\u003ca href=\"http://blackspirituals.com/\" target=\"_blank\" rel=\"noopener\">Black Spirituals\u003c/a>\u003c/strong> – “Black Resonance” (starts at 8:18)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.heule.us/voicehandler/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>\u003c/strong> – “A Meager Labyrinth” (14:20)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.kaitlynaureliasmith.com/\" target=\"_blank\" rel=\"noopener\">Kaitlyn Aurelia Smith\u003c/a>\u003c/strong> – “Tides V” (19:39)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.christopherwillits.com/\" target=\"_blank\" rel=\"noopener\">Christopher Willits\u003c/a>\u003c/strong> – “CLEAR” (26:40)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.chuckjohnson.net/\" target=\"_blank\" rel=\"noopener\">Chuck Johnson\u003c/a>\u003c/strong> – “Medicine Map” (excerpt) (32:18)\u003cbr>\n\u003cstrong>\u003ca href=\"https://adamjhirsch.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Adam Hirsch\u003c/a>\u003c/strong> – “Tunnelvision” (35:36)\u003cbr>\n\u003cstrong>\u003ca href=\"https://soundcloud.com/horaflora\" target=\"_blank\" rel=\"noopener\">Horaflora\u003c/a>\u003c/strong> – “The Gland Canyon” (excerpt) (45:51)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.notnotfun.com/posts/swanox-duskrunner-lp/\" target=\"_blank\" rel=\"noopener\">Swanox\u003c/a>\u003c/strong> – “Bank of the Orient” (48:58)\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.hollyherndon.com/\" target=\"_blank\" rel=\"noopener\">Holly Herndon\u003c/a>\u003c/strong> – “Chorus” (55:11)\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/3-Leafs/101031226664279\" target=\"_blank\" rel=\"noopener\">3 Leafs\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Body-Swap/112658995420003\" target=\"_blank\" rel=\"noopener\">Body Swap\u003c/a>\u003c/strong> – “Before You Were Born” (1:01:00)\u003cbr>\n\u003cstrong>\u003ca href=\"http://palilalia.com/\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a>\u003c/strong> – “A Genealogy Of Dysfunction” (1:06:34)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Thursday, Aug. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">‘Eurydice.’\u003c/a>\u003c/strong> Shotgun revives Sarah Ruhl’s luminous drama of a daughter and father reunited in the land of the dead. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Jazzy Films\u003c/a>. \u003c/strong>A cinematic jazz feast for the eyes and ears, this series pairs classics like \u003cem>The Maltese Falcon\u003c/em> with music performed by local greats like drummer Antonio Sanchez. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">The Velvet Teen. \u003c/a>\u003c/strong>After a nine-year hiatus, Sonoma County’s own Judah Nagler brings his dreamy, sprawling baroque pop to stages in San Francisco and Petaluma. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra.\u003c/a> \u003c/strong>The Vogue marks the Chairman’s centenary with 11 time-capsule dramas and musicals. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Merola Opera Grand Finale.\u003c/a>\u003c/strong> Hear a star being born at this conclusion of the annual Merola Opera Program, a boot camp for young mezzos and basses. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Thursday, Aug. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">‘Eurydice.’\u003c/a>\u003c/strong> Shotgun revives Sarah Ruhl’s luminous drama of a daughter and father reunited in the land of the dead. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Jazzy Films\u003c/a>. \u003c/strong>A cinematic jazz feast for the eyes and ears, this series pairs classics like \u003cem>The Maltese Falcon\u003c/em> with music performed by local greats like drummer Antonio Sanchez. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">The Velvet Teen. \u003c/a>\u003c/strong>After a nine-year hiatus, Sonoma County’s own Judah Nagler brings his dreamy, sprawling baroque pop to stages in San Francisco and Petaluma. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra.\u003c/a> \u003c/strong>The Vogue marks the Chairman’s centenary with 11 time-capsule dramas and musicals. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Merola Opera Grand Finale.\u003c/a>\u003c/strong> Hear a star being born at this conclusion of the annual Merola Opera Program, a boot camp for young mezzos and basses. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[contextly_sidebar id=\"vAbYhEz2zNrpSPyjgcQcKVJYY8r0Rk3Q\"]In the world of interesting-but-creepy news, Will Brooker, a professor of cultural studies at England’s Kingston University \u003ca href=\"http://www.huffingtonpost.com/entry/british-professor-is-ch-ch-changing-into-david-bowie_55d4d64be4b0ab468d9f7fb6\" target=\"_blank\">recently announced\u003c/a> that he is spending the year dressing and acting like David Bowie for his research. For each stage of Bowie’s music career -- starting from his first garage groups in the late ‘60s all the way through to present day -- Brooker has been wearing recreations of Bowie’s wild and constantly changing wardrobe, following an approximation of Bowie's diet (red peppers and milk) and even moving to areas around England that Bowie lived in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EeCMr_x06ts\u003c/p>\n\u003cp>It’s a little hard to believe that such an experiment exists or is needed, but he’s been commissioned to write an account of his research, so that means somebody wants to know. Then again, who wouldn’t want to know what it’s like to be the guy that created Ziggy Stardust?\u003c/p>\n\u003cp>There’s no debate: Bowie is one of the greatest songwriters of the 20th century. So great that, in 1997, he sold “Bowie bonds” to those who wanted to profit from his music. (When he went public with his publishing royalties that year, he made $50 million.)\u003c/p>\n\u003cp>He’s also married to the model Iman, continues to make great music and doesn’t need to talk to the press to sell his albums. But it hasn’t always been easy for Bowie; there have been quite a few moments in his life that he probably doesn’t wish on his worst enemies. Here are some of them that Prof. Brooker should consider before taking on a task as mammoth as living as Bowie:\u003c/p>\n\u003ch3>1. He was punched in the face so hard his eyes are mismatched\u003c/h3>\n\u003cfigure id=\"attachment_17711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-17711 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/David-Bowie-closeupCROP.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-closeupCROP.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-closeupCROP-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie smiles as he meets fans and signs copies of his new album \"Heathen\" at HMV Oxford Street September 9, 2002 in London, England. \u003ccite>(Photo by Scott Barbour/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve seen photos of David Bowie, you've probably noticed one of his most striking features: he appears to have differently colored eyes. He was not born this way. When he was 14, he was in a fight with his friend George Underwood over a girl and Underwood was so mad at Bowie (then David Jones) he punched him in the face, right in his left eye. Underwood sliced Bowie's peeper, possibly with a ring he was wearing, and Bowie's injury was so bad that doctors thought he would be blind in that eye. After being hospitalized for four months and undergoing a series of operations, Bowie’s eyesight was saved but his pupil is permanently dilated and he has depth perception issues. As for Underwood, he's still friends with Bowie and even designed the covers of Bowie's earliest albums.\u003c/p>\n\u003ch3>2. Admitting he was gay hurt his career so much he denied it just a few years later\u003c/h3>\n\u003cfigure id=\"attachment_17701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-17701 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/David-Bowie-Imam-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-1440x1044.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-1920x1393.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-960x696.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician David Bowie and supermodel Iman attend the DKMS' 5th Annual Gala: Linked Against Leukemia honoring Rihanna & Michael Clinton hosted by Katharina Harf at Cipriani Wall Street on April 28, 2011 in New York City. \u003ccite>(Photo by Andrew H. Walker/Getty Images for DKMS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1972, while being interviewed for an article in \u003cem>Melody Maker\u003c/em>, Bowie admitted to the reporter that he was gay. He was just starting to dress as “Ziggy Stardust” and the revelation -- “I’m gay and always have been, even when I was David Jones” -- brought him a lot of media attention. Laws banning homosexuality in England had been reformed just five years before and Bowie’s coming out was socially equivalent to Neil Armstrong walking on the moon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the news helped him reach star status in England, when he toured the United States for the \u003cem>Rise and Fall of Ziggy Stardust\u003c/em>, he played to several half-filled theaters. Americans had gotten word of Bowie’s revelation and, except for a bunch of cool music lovers on the coasts, didn’t want to have anything to do with him.\u003c/p>\n\u003cp>In 1976, Bowie was still standing by his declaration that he was “bisexual” and that it was \"the best thing that ever happened\" to him (around this time he had a relationship with Mick Jagger, according to ex-wife Angie Bowie). But by 1983, Bowie was hoping to take the U.S. by storm with his album \u003ci>Let's Dance\u003c/i> and started backtracking on his claims. In an interview with \u003ci>Rolling Stone\u003c/i> that same year, he stated that publicly declaring his bisexuality was \"the biggest mistake [he] ever made\" and that he \"was always a closet heterosexual.\"\u003c/p>\n\u003cp>In a 2002 interview with \u003ci>Blender\u003c/i>, he was asked whether or not his coming out was still his biggest mistake. \"I don't think it was a mistake in Europe, but it was a lot tougher in America,\" later adding \"I felt that bisexuality became my headline over here for so long. America is a very puritanical place, and I think it stood in the way of so much I wanted to do.\"\u003c/p>\n\u003ch3>3. He did a scary amount of cocaine\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=k2yLbxW4k-w\u003c/p>\n\u003cp>In the mid '70s, Bowie had a new persona: The Thin White Duke. It was an apt description of his look at that time, since he wore a lot of regal, immaculately tailored suits and was emaciated from his extreme cocaine habit (watch the video above for lots of fidgeting and sniffing). Bowie was in the studio around the clock, cranking out hit after hit — he wrote \"Fame\" in 45 minutes during this time — \u003ca href=\"http://nypost.com/2014/11/15/mountains-of-cocaine-played-a-crucial-role-in-bowies-success/\" target=\"_blank\">and booger sugar fueled a lot of those longer sessions\u003c/a>. He also did a lot of crazy stuff that someone with a drug problem would do, the best example being the time he, with \u003ca href=\"http://dangerousminds.net/comments/mysterious_white_witch_who_exorcised_david_bowie\" target=\"_blank\">help from a white witch\u003c/a>, tried exorcising his pool of demons while high on blow.\u003c/p>\n\u003cp>He moved to Switzerland in 1976, where he supposedly dumped his habit and concentrated on other pursuits like painting. He would later tell producer Nile Rodgers that he doesn't remember entire years of his life during his drug days.\u003c/p>\n\u003cp>(Side note: Brooker has said that for his research, he won't be doing the heavy amount of cocaine that Bowie did. Not only is it unhealthy, but he also couldn't afford such a habit on an academic's salary, according to the \u003cem>Guardian\u003c/em>. Instead he drank an entire six-pack of energy drinks. “It made me very jumpy,” he said.)\u003c/p>\n\u003ch3>4. A newspaper circulated a picture that made him look like a Nazi\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter wp-image-17724 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/NME.jpeg\" alt=\"NME\" width=\"569\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/NME.jpeg 569w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/NME-400x562.jpeg 400w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003c/p>\n\u003cp>This is a weird one to explain and, in hindsight, he was kind of asking for it. During his Thin White Duke days, Bowie said in an interview that \"Britain could benefit from a fascist leader.\" He was later caught at the Russian/Poland border with Nazi propaganda.\u003c/p>\n\u003cp>With rumors of his love for fascism stoked in the media, the New Musical Express then took a photo of Bowie at London's Victoria Station waving farewell to fans from a Mercedes before jumping on a train. The paper ran the photo with the headline \"Heil And Farewell\" and accused him of giving a Nazi salute. Bowie always denied the claim and there are pictures of him in that moment where \u003ca href=\"http://flashbak.com/1976-david-bowies-nazi-salute-and-eric-claptons-wogs-created-rock-against-racism-5645/\" target=\"_blank\">he looks like he's waving\u003c/a>. Bowie later admitted that he was out of his mind when he made those comments about fascism.\u003c/p>\n\u003ch3>5. A concertgoer threw a lollipop at his bad eye\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter wp-image-17726 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/david-bowie-lollipop-eye-320.thumbnail.jpg\" alt=\"david-bowie-lollipop-eye-320.thumbnail\" width=\"478\" height=\"318\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/david-bowie-lollipop-eye-320.thumbnail.jpg 478w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/david-bowie-lollipop-eye-320.thumbnail-400x266.jpg 400w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/p>\n\u003cp>In Norway, a lollipop is referred to as \"love on a stick.\" Someone tried to pass on the love to Bowie during a festival in Oslo a few years ago and instead it smacked him right in the eye, causing him to stop playing. After he recovered, he was in a huff and demanded to know who did it, but no one came forward. Once he regained his composure, he told the crowd he was going to punish the culprit by playing an extra-long set. He played 27 songs over two hours in what Norwegian media would \u003ca href=\"http://www.today.com/id/5269717/ns/today-today_entertainment/t/david-bowie-hit-eye-lollipop-concert/#.VdWbSVNViko\" target=\"_blank\">call one of his best concerts ever\u003c/a>.\u003c/p>\n\u003ch3>6. His Bowie Bonds are one step above junk status\u003c/h3>\n\u003cfigure id=\"attachment_17700\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-17700 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-1440x956.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-1920x1274.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Reed (L) and David Bowie (R) attend the opening of Lou Reed NY photography exhibit at the Gallery at Hermes on January 19, 2006 in New York City. \u003ccite>(Photo by Andrew H. Walker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remember those \"Bowie Bonds\" I told you about earlier? By 2004, their credit rating was downgraded to just \u003ca href=\"http://www.telegraph.co.uk/news/uknews/1457666/Bowie-man-whose-bonds-fell-to-earth.html\" target=\"_blank\">above junk status\u003c/a>. The artist didn't adjust his business model when file-sharing on the Internet became a thing so, when people realized they didn't need to pay for his albums in order to obtain them, the profits on his 25 albums took a massive hit.\u003c/p>\n\u003cp>Since there's no such thing as sympathy in the stock market, it wasn't too long before the credit rating was downgraded, with a spokesperson for Moody's saying, \"The downgrade was prompted by lower than expected revenues generated by the assets due to weakness in sales for recorded music.\" But, by that time, Bowie had already gotten what he wanted: not only did the initial offering make Bowie one of the richest musicians in the world, he was able to use his money to buy back all the rights to his music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now that I think about it, it's probably not that bad to be Bowie. But it ain't easy, either! Good luck, Professor Brooker!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>In the world of interesting-but-creepy news, Will Brooker, a professor of cultural studies at England’s Kingston University \u003ca href=\"http://www.huffingtonpost.com/entry/british-professor-is-ch-ch-changing-into-david-bowie_55d4d64be4b0ab468d9f7fb6\" target=\"_blank\">recently announced\u003c/a> that he is spending the year dressing and acting like David Bowie for his research. For each stage of Bowie’s music career -- starting from his first garage groups in the late ‘60s all the way through to present day -- Brooker has been wearing recreations of Bowie’s wild and constantly changing wardrobe, following an approximation of Bowie's diet (red peppers and milk) and even moving to areas around England that Bowie lived in.\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/EeCMr_x06ts'\n title='//www.youtube.com/embed/EeCMr_x06ts'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a little hard to believe that such an experiment exists or is needed, but he’s been commissioned to write an account of his research, so that means somebody wants to know. Then again, who wouldn’t want to know what it’s like to be the guy that created Ziggy Stardust?\u003c/p>\n\u003cp>There’s no debate: Bowie is one of the greatest songwriters of the 20th century. So great that, in 1997, he sold “Bowie bonds” to those who wanted to profit from his music. (When he went public with his publishing royalties that year, he made $50 million.)\u003c/p>\n\u003cp>He’s also married to the model Iman, continues to make great music and doesn’t need to talk to the press to sell his albums. But it hasn’t always been easy for Bowie; there have been quite a few moments in his life that he probably doesn’t wish on his worst enemies. Here are some of them that Prof. Brooker should consider before taking on a task as mammoth as living as Bowie:\u003c/p>\n\u003ch3>1. He was punched in the face so hard his eyes are mismatched\u003c/h3>\n\u003cfigure id=\"attachment_17711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-17711 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/David-Bowie-closeupCROP.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-closeupCROP.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-closeupCROP-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie smiles as he meets fans and signs copies of his new album \"Heathen\" at HMV Oxford Street September 9, 2002 in London, England. \u003ccite>(Photo by Scott Barbour/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve seen photos of David Bowie, you've probably noticed one of his most striking features: he appears to have differently colored eyes. He was not born this way. When he was 14, he was in a fight with his friend George Underwood over a girl and Underwood was so mad at Bowie (then David Jones) he punched him in the face, right in his left eye. Underwood sliced Bowie's peeper, possibly with a ring he was wearing, and Bowie's injury was so bad that doctors thought he would be blind in that eye. After being hospitalized for four months and undergoing a series of operations, Bowie’s eyesight was saved but his pupil is permanently dilated and he has depth perception issues. As for Underwood, he's still friends with Bowie and even designed the covers of Bowie's earliest albums.\u003c/p>\n\u003ch3>2. Admitting he was gay hurt his career so much he denied it just a few years later\u003c/h3>\n\u003cfigure id=\"attachment_17701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-17701 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/David-Bowie-Imam-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-1440x1044.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-1920x1393.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/David-Bowie-Imam-960x696.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician David Bowie and supermodel Iman attend the DKMS' 5th Annual Gala: Linked Against Leukemia honoring Rihanna & Michael Clinton hosted by Katharina Harf at Cipriani Wall Street on April 28, 2011 in New York City. \u003ccite>(Photo by Andrew H. Walker/Getty Images for DKMS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1972, while being interviewed for an article in \u003cem>Melody Maker\u003c/em>, Bowie admitted to the reporter that he was gay. He was just starting to dress as “Ziggy Stardust” and the revelation -- “I’m gay and always have been, even when I was David Jones” -- brought him a lot of media attention. Laws banning homosexuality in England had been reformed just five years before and Bowie’s coming out was socially equivalent to Neil Armstrong walking on the moon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the news helped him reach star status in England, when he toured the United States for the \u003cem>Rise and Fall of Ziggy Stardust\u003c/em>, he played to several half-filled theaters. Americans had gotten word of Bowie’s revelation and, except for a bunch of cool music lovers on the coasts, didn’t want to have anything to do with him.\u003c/p>\n\u003cp>In 1976, Bowie was still standing by his declaration that he was “bisexual” and that it was \"the best thing that ever happened\" to him (around this time he had a relationship with Mick Jagger, according to ex-wife Angie Bowie). But by 1983, Bowie was hoping to take the U.S. by storm with his album \u003ci>Let's Dance\u003c/i> and started backtracking on his claims. In an interview with \u003ci>Rolling Stone\u003c/i> that same year, he stated that publicly declaring his bisexuality was \"the biggest mistake [he] ever made\" and that he \"was always a closet heterosexual.\"\u003c/p>\n\u003cp>In a 2002 interview with \u003ci>Blender\u003c/i>, he was asked whether or not his coming out was still his biggest mistake. \"I don't think it was a mistake in Europe, but it was a lot tougher in America,\" later adding \"I felt that bisexuality became my headline over here for so long. America is a very puritanical place, and I think it stood in the way of so much I wanted to do.\"\u003c/p>\n\u003ch3>3. He did a scary amount of cocaine\u003c/h3>\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/k2yLbxW4k-w'\n title='//www.youtube.com/embed/k2yLbxW4k-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the mid '70s, Bowie had a new persona: The Thin White Duke. It was an apt description of his look at that time, since he wore a lot of regal, immaculately tailored suits and was emaciated from his extreme cocaine habit (watch the video above for lots of fidgeting and sniffing). Bowie was in the studio around the clock, cranking out hit after hit — he wrote \"Fame\" in 45 minutes during this time — \u003ca href=\"http://nypost.com/2014/11/15/mountains-of-cocaine-played-a-crucial-role-in-bowies-success/\" target=\"_blank\">and booger sugar fueled a lot of those longer sessions\u003c/a>. He also did a lot of crazy stuff that someone with a drug problem would do, the best example being the time he, with \u003ca href=\"http://dangerousminds.net/comments/mysterious_white_witch_who_exorcised_david_bowie\" target=\"_blank\">help from a white witch\u003c/a>, tried exorcising his pool of demons while high on blow.\u003c/p>\n\u003cp>He moved to Switzerland in 1976, where he supposedly dumped his habit and concentrated on other pursuits like painting. He would later tell producer Nile Rodgers that he doesn't remember entire years of his life during his drug days.\u003c/p>\n\u003cp>(Side note: Brooker has said that for his research, he won't be doing the heavy amount of cocaine that Bowie did. Not only is it unhealthy, but he also couldn't afford such a habit on an academic's salary, according to the \u003cem>Guardian\u003c/em>. Instead he drank an entire six-pack of energy drinks. “It made me very jumpy,” he said.)\u003c/p>\n\u003ch3>4. A newspaper circulated a picture that made him look like a Nazi\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter wp-image-17724 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/NME.jpeg\" alt=\"NME\" width=\"569\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/NME.jpeg 569w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/NME-400x562.jpeg 400w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003c/p>\n\u003cp>This is a weird one to explain and, in hindsight, he was kind of asking for it. During his Thin White Duke days, Bowie said in an interview that \"Britain could benefit from a fascist leader.\" He was later caught at the Russian/Poland border with Nazi propaganda.\u003c/p>\n\u003cp>With rumors of his love for fascism stoked in the media, the New Musical Express then took a photo of Bowie at London's Victoria Station waving farewell to fans from a Mercedes before jumping on a train. The paper ran the photo with the headline \"Heil And Farewell\" and accused him of giving a Nazi salute. Bowie always denied the claim and there are pictures of him in that moment where \u003ca href=\"http://flashbak.com/1976-david-bowies-nazi-salute-and-eric-claptons-wogs-created-rock-against-racism-5645/\" target=\"_blank\">he looks like he's waving\u003c/a>. Bowie later admitted that he was out of his mind when he made those comments about fascism.\u003c/p>\n\u003ch3>5. A concertgoer threw a lollipop at his bad eye\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter wp-image-17726 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/david-bowie-lollipop-eye-320.thumbnail.jpg\" alt=\"david-bowie-lollipop-eye-320.thumbnail\" width=\"478\" height=\"318\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/david-bowie-lollipop-eye-320.thumbnail.jpg 478w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/david-bowie-lollipop-eye-320.thumbnail-400x266.jpg 400w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/p>\n\u003cp>In Norway, a lollipop is referred to as \"love on a stick.\" Someone tried to pass on the love to Bowie during a festival in Oslo a few years ago and instead it smacked him right in the eye, causing him to stop playing. After he recovered, he was in a huff and demanded to know who did it, but no one came forward. Once he regained his composure, he told the crowd he was going to punish the culprit by playing an extra-long set. He played 27 songs over two hours in what Norwegian media would \u003ca href=\"http://www.today.com/id/5269717/ns/today-today_entertainment/t/david-bowie-hit-eye-lollipop-concert/#.VdWbSVNViko\" target=\"_blank\">call one of his best concerts ever\u003c/a>.\u003c/p>\n\u003ch3>6. His Bowie Bonds are one step above junk status\u003c/h3>\n\u003cfigure id=\"attachment_17700\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-17700 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-1440x956.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-1920x1274.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/DAvid-Bowie-Lou-Reed-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Reed (L) and David Bowie (R) attend the opening of Lou Reed NY photography exhibit at the Gallery at Hermes on January 19, 2006 in New York City. \u003ccite>(Photo by Andrew H. Walker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remember those \"Bowie Bonds\" I told you about earlier? By 2004, their credit rating was downgraded to just \u003ca href=\"http://www.telegraph.co.uk/news/uknews/1457666/Bowie-man-whose-bonds-fell-to-earth.html\" target=\"_blank\">above junk status\u003c/a>. The artist didn't adjust his business model when file-sharing on the Internet became a thing so, when people realized they didn't need to pay for his albums in order to obtain them, the profits on his 25 albums took a massive hit.\u003c/p>\n\u003cp>Since there's no such thing as sympathy in the stock market, it wasn't too long before the credit rating was downgraded, with a spokesperson for Moody's saying, \"The downgrade was prompted by lower than expected revenues generated by the assets due to weakness in sales for recorded music.\" But, by that time, Bowie had already gotten what he wanted: not only did the initial offering make Bowie one of the richest musicians in the world, he was able to use his money to buy back all the rights to his music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that I think about it, it's probably not that bad to be Bowie. But it ain't easy, either! Good luck, Professor Brooker!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bryant Tan’s job must be fun sometimes — it certainly appeared to be last night, when the Entertainment Commission president oversaw the approval of three separate venues’ “place of entertainment” permits, and wished them good luck.\u003c/p>\n\u003cp>One of those was Mission District live-music venue Amnesia, whose permit was granted in an outpouring of support from commissioners and community members alike. Officer Parker from the SFPD’s Mission Station came to the microphone to express excitement that the bar’s new owner Craig Wathen plans to continue to present “a diversity of live music.” And in terms of security, Parker was clear: as long as Wathen maintains the system already in place, “I see no reason to fix something that isn’t broken.”\u003c/p>\n\u003cp>In the chamber inside City Hall, it was clear from the onset via commissioners’ supportive comments and the packed house that the permit would be approved. However, public comment is usually opened anyway in such cases, and President Tan graciously allowed this. Before doing so, however, and “in the interests of time,” he called for a show of hands of those in favor of granting the permit. Every single audience member raised a hand. He then asked “Is anyone opposed?” No hands were raised.\u003c/p>\n\u003cp>A number of Amnesia regulars spoke during the ensuing public comment period, including the venue’s bookkeeper and close neighbor, Heidi-Jane Schwabe, who said she had passed a petition around the neighborhood. “And even someone who notoriously calls the police on everyone said ‘Oh, Amnesia?’ I’ll absolutely support that,” she said. She also noted the number of jobs created by the small bar. “This is the livelihood of a lot of people,” she said.\u003c/p>\n\u003cp>“Same house, same call,” in commissionese, means the six-member regulatory group is satisfied and expects to see a venue operating in a manner consistent with its past — Amnesia’s large community of musicians, friends, and neighbors seems to hope the same.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bryant Tan’s job must be fun sometimes — it certainly appeared to be last night, when the Entertainment Commission president oversaw the approval of three separate venues’ “place of entertainment” permits, and wished them good luck.\u003c/p>\n\u003cp>One of those was Mission District live-music venue Amnesia, whose permit was granted in an outpouring of support from commissioners and community members alike. Officer Parker from the SFPD’s Mission Station came to the microphone to express excitement that the bar’s new owner Craig Wathen plans to continue to present “a diversity of live music.” And in terms of security, Parker was clear: as long as Wathen maintains the system already in place, “I see no reason to fix something that isn’t broken.”\u003c/p>\n\u003cp>In the chamber inside City Hall, it was clear from the onset via commissioners’ supportive comments and the packed house that the permit would be approved. However, public comment is usually opened anyway in such cases, and President Tan graciously allowed this. Before doing so, however, and “in the interests of time,” he called for a show of hands of those in favor of granting the permit. Every single audience member raised a hand. He then asked “Is anyone opposed?” No hands were raised.\u003c/p>\n\u003cp>A number of Amnesia regulars spoke during the ensuing public comment period, including the venue’s bookkeeper and close neighbor, Heidi-Jane Schwabe, who said she had passed a petition around the neighborhood. “And even someone who notoriously calls the police on everyone said ‘Oh, Amnesia?’ I’ll absolutely support that,” she said. She also noted the number of jobs created by the small bar. “This is the livelihood of a lot of people,” she said.\u003c/p>\n\u003cp>“Same house, same call,” in commissionese, means the six-member regulatory group is satisfied and expects to see a venue operating in a manner consistent with its past — Amnesia’s large community of musicians, friends, and neighbors seems to hope the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A two-alarm fire burned a beloved bar and a convenience store next door in San Francisco’s Outer Sunset neighborhood Tuesday morning, according to fire officials.\u003c/p>\n\u003cp>The fire started at the Riptide bar at 3639 Taraval St. between 46th and 47th avenues and spread to the Great Highway Market next door. The fire was first reported at 10:15 a.m. and a second alarm was called at 10:27 a.m., fire officials said.\u003c/p>\n\u003cp>The fire was contained at 11:13 a.m. but there was extensive damage to both buildings — estimated to total $600,000, according to the fire department. \u003c/p>\n\u003cp>According to reports, the Riptide was gutted in \u003ca href=\"http://www.sfgate.com/news/article/2-alarm-fire-burning-in-S-F-s-Outer-Sunset-6451022.php\" target=\"_blank\" rel=\"noopener\">less than 90 minutes\u003c/a>. Clouds of black smoke could be seen on streets in the area during the blaze.\u003c/p>\n\u003cp>No injuries were reported in the fire, according to the fire department. The cause was still under investigation Tuesday afternoon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is tough news for music lovers in the neighborhood, as the Riptide is the only venue to hear live bands and karaoke in the Outer Sunset. Built in 1941, it was also a popular hangout for surfers and local residents; the bar held annual events such as Christmas parties and group “plunges” into the San Francisco Bay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Riptide’s owners have vowed to rebuild and have been talking with local musicians about organizing fundraisers in the near future. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A two-alarm fire burned a beloved bar and a convenience store next door in San Francisco’s Outer Sunset neighborhood Tuesday morning, according to fire officials.\u003c/p>\n\u003cp>The fire started at the Riptide bar at 3639 Taraval St. between 46th and 47th avenues and spread to the Great Highway Market next door. The fire was first reported at 10:15 a.m. and a second alarm was called at 10:27 a.m., fire officials said.\u003c/p>\n\u003cp>The fire was contained at 11:13 a.m. but there was extensive damage to both buildings — estimated to total $600,000, according to the fire department. \u003c/p>\n\u003cp>According to reports, the Riptide was gutted in \u003ca href=\"http://www.sfgate.com/news/article/2-alarm-fire-burning-in-S-F-s-Outer-Sunset-6451022.php\" target=\"_blank\" rel=\"noopener\">less than 90 minutes\u003c/a>. Clouds of black smoke could be seen on streets in the area during the blaze.\u003c/p>\n\u003cp>No injuries were reported in the fire, according to the fire department. The cause was still under investigation Tuesday afternoon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is tough news for music lovers in the neighborhood, as the Riptide is the only venue to hear live bands and karaoke in the Outer Sunset. Built in 1941, it was also a popular hangout for surfers and local residents; the bar held annual events such as Christmas parties and group “plunges” into the San Francisco Bay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Riptide’s owners have vowed to rebuild and have been talking with local musicians about organizing fundraisers in the near future. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Straight Outta Compton' is a Commercial for Dr. Dre",
"headTitle": "‘Straight Outta Compton’ is a Commercial for Dr. Dre | KQED",
"content": "\u003cp>After watching \u003cem>Straight Outta Compton\u003c/em>, you might have left the movie theater thinking Dr. Dre was a pretty great guy. And why not — after all, during the end credits, instead of a standard where-are-they-now montage of all five members of N.W.A., the only one we hear about is Dre, with testimonials from Kendrick Lamar, Eminem and others touting his greatness in hip-hop production and his business savvy in \u003ca href=\"http://www.nydailynews.com/entertainment/dr-dre-sells-beats-apple-3-billion-article-1.1808975\" target=\"_blank\" rel=\"noopener\">selling Beats by Dre to Apple for $3 billion\u003c/a>.\u003c/p>\n\u003cp>Leaving the theater, this seemed off to me, and while walking home, I recounted the other ways the movie painted Dre — a \u003cem>Forbes\u003c/em>-listed corporate mogul with a $700 million personal brand to protect — in an unusually positive moral light: his noble stance in leaving Suge Knight, royalties be damned; his repeated promises to do right by his child to his mother; his tearful breakdown and self-guilt at his brother’s death; his equally emotive farewell to Eazy-E.\u003c/p>\n\u003cp>All of this fawning depiction is overcompensation, I thought to myself, since the \u003ca href=\"http://www.rollingstone.com/music/news/beating-up-the-charts-19910808\" target=\"_blank\" rel=\"noopener\">very well-known incident of Dr. Dre repeatedly slamming a female journalist’s head against the wall and then throwing her body to the ground and kicking her ribs\u003c/a> was conspicuously nowhere to be found in the film.\u003c/p>\n\u003cp>Today, that journalist, Dee Barnes, has spoken up on \u003cem>Straight Outta Compton\u003c/em> in a post for Gawker titled ‘\u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up\u003c/a>.’ You can and should read her entire post \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, which includes a chilling description of the assault:\u003c/p>\n\u003cblockquote>\u003cp>…when Dre was trying to choke me on the floor of the women’s room in Po Na Na Souk, a thought flashed through my head: “Oh my god. He’s trying to kill me.” He had me trapped in that bathroom; he held the door closed with his leg. It was surreal. “Is this happening?” I thought.\u003c/p>\u003c/blockquote>\n\u003cp>Barnes goes on to explain why she’s glad the assault wasn’t depicted on-screen:\u003c/p>\n\u003cblockquote>\u003cp>That event isn’t depicted in \u003cem>Straight Outta Compton\u003c/em>, but I don’t think it should have been, either. The truth is too ugly for a general audience. I didn’t want to see a depiction of me getting beat up, just like I didn’t want to see a depiction of Dre beating up Michel’le, his one-time girlfriend who \u003ca href=\"http://jezebel.com/dr-dres-ex-has-an-idea-why-his-abusive-past-didnt-make-1724644896\" target=\"_blank\" rel=\"noopener\">recently summed up their relationship this way\u003c/a>: “I was just a quiet girlfriend who got beat on and told to sit down and shut up.”\u003c/p>\n\u003cp>But what should have been addressed is that it occurred. \u003c/p>\u003c/blockquote>\n\u003cp>Dre’s attack on Barnes came after an interview segment aired on \u003cem>Pump it Up\u003c/em>, the show Barnes hosted, which was edited to include inflammatory comments by Ice Cube to the remaining members of N.W.A. Barnes has long explained that she had nothing to do with the editing, but today, she goes on to reveal that a certain key player was involved:\u003c/p>\n\u003cblockquote>\u003cp>I was a pawn in the game. I was in it, but so was a true opportunist: the director of \u003cem>Straight Outta Compton\u003c/em>, F. Gary Gray.\u003c/p>\n\u003cp>That’s right. F. Gary Gray, the man whose film made $60 million last weekend as it erased my attack from history, was also behind the camera to film the moment that launched that very attack. He was my cameraman for \u003cem>Pump It Up\u003c/em>! You may have noticed that Gary has been reluctant to address N.W.A.’s misogyny and Dre’s attack on me in interviews. I think a huge reason that Gary doesn’t want to address it is because then he’d have to explain his part in history. He’s obviously uncomfortable for a reason.\n\u003c/p>\u003c/blockquote>\n\u003cp>There you have it: F. Gary Gray was Dee Barnes’ cameraman for the interview that incited Dr. Dre to violently attack an innocent woman, and F. Gary Gray is the director of the film that eliminates this incident from the story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beats by Dre are \u003ca href=\"https://www.youtube.com/watch?v=ZsxQxS0AdBY\" target=\"_blank\" rel=\"noopener\">notoriously terrible headphones\u003c/a>. Dre’s son didn’t meet his father \u003ca href=\"http://nextshark.com/dr-dre-son-curtis-young/\" target=\"_blank\" rel=\"noopener\">until he was 20 years old\u003c/a>. Dre’s production on \u003cem>Straight Outta Compton\u003c/em> was composed from \u003ca href=\"http://www.whosampled.com/N.W.A/\" target=\"_blank\" rel=\"noopener\">the most common, unoriginal breaks in hip-hop\u003c/a>. And Dr. Dre, a producer on the film along with F. Gary Gray, suppressed any mention in the movie of his assault on Dee Barnes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Staright Outta Compton’ is a commercial for Dr. Dre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching \u003cem>Straight Outta Compton\u003c/em>, you might have left the movie theater thinking Dr. Dre was a pretty great guy. And why not — after all, during the end credits, instead of a standard where-are-they-now montage of all five members of N.W.A., the only one we hear about is Dre, with testimonials from Kendrick Lamar, Eminem and others touting his greatness in hip-hop production and his business savvy in \u003ca href=\"http://www.nydailynews.com/entertainment/dr-dre-sells-beats-apple-3-billion-article-1.1808975\" target=\"_blank\" rel=\"noopener\">selling Beats by Dre to Apple for $3 billion\u003c/a>.\u003c/p>\n\u003cp>Leaving the theater, this seemed off to me, and while walking home, I recounted the other ways the movie painted Dre — a \u003cem>Forbes\u003c/em>-listed corporate mogul with a $700 million personal brand to protect — in an unusually positive moral light: his noble stance in leaving Suge Knight, royalties be damned; his repeated promises to do right by his child to his mother; his tearful breakdown and self-guilt at his brother’s death; his equally emotive farewell to Eazy-E.\u003c/p>\n\u003cp>All of this fawning depiction is overcompensation, I thought to myself, since the \u003ca href=\"http://www.rollingstone.com/music/news/beating-up-the-charts-19910808\" target=\"_blank\" rel=\"noopener\">very well-known incident of Dr. Dre repeatedly slamming a female journalist’s head against the wall and then throwing her body to the ground and kicking her ribs\u003c/a> was conspicuously nowhere to be found in the film.\u003c/p>\n\u003cp>Today, that journalist, Dee Barnes, has spoken up on \u003cem>Straight Outta Compton\u003c/em> in a post for Gawker titled ‘\u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up\u003c/a>.’ You can and should read her entire post \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, which includes a chilling description of the assault:\u003c/p>\n\u003cblockquote>\u003cp>…when Dre was trying to choke me on the floor of the women’s room in Po Na Na Souk, a thought flashed through my head: “Oh my god. He’s trying to kill me.” He had me trapped in that bathroom; he held the door closed with his leg. It was surreal. “Is this happening?” I thought.\u003c/p>\u003c/blockquote>\n\u003cp>Barnes goes on to explain why she’s glad the assault wasn’t depicted on-screen:\u003c/p>\n\u003cblockquote>\u003cp>That event isn’t depicted in \u003cem>Straight Outta Compton\u003c/em>, but I don’t think it should have been, either. The truth is too ugly for a general audience. I didn’t want to see a depiction of me getting beat up, just like I didn’t want to see a depiction of Dre beating up Michel’le, his one-time girlfriend who \u003ca href=\"http://jezebel.com/dr-dres-ex-has-an-idea-why-his-abusive-past-didnt-make-1724644896\" target=\"_blank\" rel=\"noopener\">recently summed up their relationship this way\u003c/a>: “I was just a quiet girlfriend who got beat on and told to sit down and shut up.”\u003c/p>\n\u003cp>But what should have been addressed is that it occurred. \u003c/p>\u003c/blockquote>\n\u003cp>Dre’s attack on Barnes came after an interview segment aired on \u003cem>Pump it Up\u003c/em>, the show Barnes hosted, which was edited to include inflammatory comments by Ice Cube to the remaining members of N.W.A. Barnes has long explained that she had nothing to do with the editing, but today, she goes on to reveal that a certain key player was involved:\u003c/p>\n\u003cblockquote>\u003cp>I was a pawn in the game. I was in it, but so was a true opportunist: the director of \u003cem>Straight Outta Compton\u003c/em>, F. Gary Gray.\u003c/p>\n\u003cp>That’s right. F. Gary Gray, the man whose film made $60 million last weekend as it erased my attack from history, was also behind the camera to film the moment that launched that very attack. He was my cameraman for \u003cem>Pump It Up\u003c/em>! You may have noticed that Gary has been reluctant to address N.W.A.’s misogyny and Dre’s attack on me in interviews. I think a huge reason that Gary doesn’t want to address it is because then he’d have to explain his part in history. He’s obviously uncomfortable for a reason.\n\u003c/p>\u003c/blockquote>\n\u003cp>There you have it: F. Gary Gray was Dee Barnes’ cameraman for the interview that incited Dr. Dre to violently attack an innocent woman, and F. Gary Gray is the director of the film that eliminates this incident from the story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beats by Dre are \u003ca href=\"https://www.youtube.com/watch?v=ZsxQxS0AdBY\" target=\"_blank\" rel=\"noopener\">notoriously terrible headphones\u003c/a>. Dre’s son didn’t meet his father \u003ca href=\"http://nextshark.com/dr-dre-son-curtis-young/\" target=\"_blank\" rel=\"noopener\">until he was 20 years old\u003c/a>. Dre’s production on \u003cem>Straight Outta Compton\u003c/em> was composed from \u003ca href=\"http://www.whosampled.com/N.W.A/\" target=\"_blank\" rel=\"noopener\">the most common, unoriginal breaks in hip-hop\u003c/a>. And Dr. Dre, a producer on the film along with F. Gary Gray, suppressed any mention in the movie of his assault on Dee Barnes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Staright Outta Compton’ is a commercial for Dr. Dre.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Is It Rolling, Bob?': Remembering Producer Bob Johnston",
"headTitle": "‘Is It Rolling, Bob?’: Remembering Producer Bob Johnston | KQED",
"content": "\u003cp>This past Friday, Aug. 14, the record producer Bob Johnston died in hospice care near his home in Nashville, Tenn. He was 83 years old.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>More than any other single practitioner of that post, Johnston helped give shape, heft and durability to some of the most transformative American music of the past five decades, framing the sounds and intentions of an era — when invention was valued on par with accessibility; lines were confused and maps were being redrawn — and helping to foster a culture of autonomy and liberation for visionary artists that remains vital to this day, and continues to evolve.\u003c/p>\n\u003cp>As a staff producer for Columbia Records (and then as a free agent) Bob Johnston was a guiding force behind the artists on his watch — playing priest and lifeguard, counselor and agitator to such standard-bearers and upstarts as \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a>, Marty Robbins, \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/98847896/simon-garfunkel\" target=\"_blank\" rel=\"noopener\">Simon and Garfunkel\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a>, to name a scant few.\u003c/p>\n\u003cp>On behalf of Cash, Johnston stood up fearlessly against Columbia’s executives — who had threatened both men’s continued affiliation with the label should they follow through with the singer’s outlandish desire to record live concert albums at the maximum security prisons at Folsom and San Quentin — albums that proved to be not only blockbusters both, but definitive statements in burnishing the heroic and populist image of the rough-and-tumble Cash and helping to transfigure his standing from country star to national icon.\u003c/p>\n\u003cp>Leonard Cohen, already a successful novelist and poet in his native Canada, nonetheless regarded himself a novitiate as a musician, and was skittish in the studio. His debut album for Columbia — begun by legendary producer John Hammond, then handed off to John Simon — had proved arduous and creatively unsatisfying to Cohen, who felt it too dense and over-worked, leaving him unsure he would ever make another. But he knew Johnston’s work and reputation, and loved country music; on a chance encounter between the two in Los Angeles, Johnston promised to find Cohen a log cabin to rent in the woods outside of Nashville. He pledged as well to fight the label for Cohen’s right to make the kind of album he truly wanted to, and to help him see it through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once in the studio together, Johnston pushed Cohen’s weary and soulful vocals far into the foreground, allowing each song’s story and its teller to trump the weather of whatever else might musically be happening around it. He insisted that the guarded Cohen fully inhabit his own authority as a poetic songwriter and transcendent performer. Following the studio sessions, Johnston was charged with assembling a touring band that could conjure in concert the mystic quality of the recorded songs, and said simply of his criteria that he wanted only, “people who look up — I didn’t want anybody looking down.”\u003c/p>\n\u003cp>To be sure, that says as much about Johnston’s musical ethos as anything could, favoring as he did musicians who were eager and able to disappear into the service of the sacred unnameable, who could abandon ego and trusted methodology in favor of real-time discovery.\u003c/p>\n\u003cp>For many of us, though, had Johnston only worked with \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, our collective debt to him would be immeasurable.\u003c/p>\n\u003cp>In the summer of 1965, there was a riot going on following the release of Dylan’s breakthrough single “\u003ca href=\"http://video.bobdylan.com/desktop.html\" target=\"_blank\" rel=\"noopener\">Like A Rolling Stone\u003c/a>” that found the one-time folk darling marrying the personal and cryptic imagery of the beat poets with the gritty, sensual swagger of electric blues. But when the young singer/songwriter reconvened in Columbia’s Studio A on 30th Street in Manhattan a few weeks later — itching to expand his newly minted and confounding revolution into a full-length album, following his \u003ca href=\"http://www.npr.org/2015/07/25/424977355/50-years-ago-bob-dylan-electrified-a-decade-with-one-concert\" target=\"_blank\" rel=\"noopener\">historic and controversial appearance\u003c/a> at the Newport Folk Festival over the weekend — Dylan arrived to find “Rolling Stone” producer Tom Wilson dismissed, and the amiable Texan Bob Johnston waiting coolly in his place. Gone too was the cast of seasoned stalwart musicians who typically populated a Columbia Records session, all having been replaced by a rag-tag group of young lions who proved to be every bit as ambitious and freaky as the singer himself. The resulting long-player — the groundbreaking \u003cem>Highway 61 Revisited — \u003c/em>still stands as a mountain upon the landscape, and as enduring a symbol of that turbulent decade as the Zapruder film.\u003c/p>\n\u003cp>Johnston went on to helm the \u003cem>other\u003c/em> Bob’s creative full blossom over the course of six albums — many of them masterworks, including the still-unparalleled \u003cem>Blonde On Blonde \u003c/em>double set of 1966. He did so not by stern direction, but by — there is no other way to say it — surrounding the fuming songwriter with light and a steadfast love that allowed the artist’s full commitment to every ranging possibility. Johnston, in essence, barred the doors and threw his physical body into the path of any company naysayers, while his young charge turned the label’s studios, in New York and \u003ca href=\"https://www.youtube.com/watch?v=eos_70yqX8E\" target=\"_blank\" rel=\"noopener\">later in Nashville\u003c/a>, from hit-factory into brothel wherein the ghost of Belle Starr might have entertained both Garcia Marquez and Howlin’ Wolf, each leaning in and leering from opposite ends of the divan.\u003c/p>\n\u003cp>Those of us who consider ourselves the fruit of such strange couplings will spend many hours in the coming days giving thanks for Bob Johnston’s life and courageous good works upon this earth.\u003c/p>\n\u003cp>May we all put a blanket on his bed.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Joe Henry is a songwriter, singer, recording artist and three-time Grammy-winning producer. In his work as a musician, he has collaborated with a disparate array of artists ranging from Ornette Coleman and Madonna to Bonnie Raitt, Harry Belafonte, Mose Allison and Ramblin’ Jack Elliott; from Bill Frisell and Salif Keita to Ani DiFranco, Solomon Burke, Bettye LaVette and Hugh Laurie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>He is also the co-author, with his brother David Henry, of the book \u003c/em>Furious Cool: Richard Pryor and the World That Made Him\u003cem> (Algonquin, 2013).\u003c/em> \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=%27Is+It+Rolling%2C+Bob%3F%27%3A+Remembering+Producer+Bob+Johnston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past Friday, Aug. 14, the record producer Bob Johnston died in hospice care near his home in Nashville, Tenn. He was 83 years old.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>More than any other single practitioner of that post, Johnston helped give shape, heft and durability to some of the most transformative American music of the past five decades, framing the sounds and intentions of an era — when invention was valued on par with accessibility; lines were confused and maps were being redrawn — and helping to foster a culture of autonomy and liberation for visionary artists that remains vital to this day, and continues to evolve.\u003c/p>\n\u003cp>As a staff producer for Columbia Records (and then as a free agent) Bob Johnston was a guiding force behind the artists on his watch — playing priest and lifeguard, counselor and agitator to such standard-bearers and upstarts as \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a>, Marty Robbins, \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/98847896/simon-garfunkel\" target=\"_blank\" rel=\"noopener\">Simon and Garfunkel\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a>, to name a scant few.\u003c/p>\n\u003cp>On behalf of Cash, Johnston stood up fearlessly against Columbia’s executives — who had threatened both men’s continued affiliation with the label should they follow through with the singer’s outlandish desire to record live concert albums at the maximum security prisons at Folsom and San Quentin — albums that proved to be not only blockbusters both, but definitive statements in burnishing the heroic and populist image of the rough-and-tumble Cash and helping to transfigure his standing from country star to national icon.\u003c/p>\n\u003cp>Leonard Cohen, already a successful novelist and poet in his native Canada, nonetheless regarded himself a novitiate as a musician, and was skittish in the studio. His debut album for Columbia — begun by legendary producer John Hammond, then handed off to John Simon — had proved arduous and creatively unsatisfying to Cohen, who felt it too dense and over-worked, leaving him unsure he would ever make another. But he knew Johnston’s work and reputation, and loved country music; on a chance encounter between the two in Los Angeles, Johnston promised to find Cohen a log cabin to rent in the woods outside of Nashville. He pledged as well to fight the label for Cohen’s right to make the kind of album he truly wanted to, and to help him see it through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once in the studio together, Johnston pushed Cohen’s weary and soulful vocals far into the foreground, allowing each song’s story and its teller to trump the weather of whatever else might musically be happening around it. He insisted that the guarded Cohen fully inhabit his own authority as a poetic songwriter and transcendent performer. Following the studio sessions, Johnston was charged with assembling a touring band that could conjure in concert the mystic quality of the recorded songs, and said simply of his criteria that he wanted only, “people who look up — I didn’t want anybody looking down.”\u003c/p>\n\u003cp>To be sure, that says as much about Johnston’s musical ethos as anything could, favoring as he did musicians who were eager and able to disappear into the service of the sacred unnameable, who could abandon ego and trusted methodology in favor of real-time discovery.\u003c/p>\n\u003cp>For many of us, though, had Johnston only worked with \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, our collective debt to him would be immeasurable.\u003c/p>\n\u003cp>In the summer of 1965, there was a riot going on following the release of Dylan’s breakthrough single “\u003ca href=\"http://video.bobdylan.com/desktop.html\" target=\"_blank\" rel=\"noopener\">Like A Rolling Stone\u003c/a>” that found the one-time folk darling marrying the personal and cryptic imagery of the beat poets with the gritty, sensual swagger of electric blues. But when the young singer/songwriter reconvened in Columbia’s Studio A on 30th Street in Manhattan a few weeks later — itching to expand his newly minted and confounding revolution into a full-length album, following his \u003ca href=\"http://www.npr.org/2015/07/25/424977355/50-years-ago-bob-dylan-electrified-a-decade-with-one-concert\" target=\"_blank\" rel=\"noopener\">historic and controversial appearance\u003c/a> at the Newport Folk Festival over the weekend — Dylan arrived to find “Rolling Stone” producer Tom Wilson dismissed, and the amiable Texan Bob Johnston waiting coolly in his place. Gone too was the cast of seasoned stalwart musicians who typically populated a Columbia Records session, all having been replaced by a rag-tag group of young lions who proved to be every bit as ambitious and freaky as the singer himself. The resulting long-player — the groundbreaking \u003cem>Highway 61 Revisited — \u003c/em>still stands as a mountain upon the landscape, and as enduring a symbol of that turbulent decade as the Zapruder film.\u003c/p>\n\u003cp>Johnston went on to helm the \u003cem>other\u003c/em> Bob’s creative full blossom over the course of six albums — many of them masterworks, including the still-unparalleled \u003cem>Blonde On Blonde \u003c/em>double set of 1966. He did so not by stern direction, but by — there is no other way to say it — surrounding the fuming songwriter with light and a steadfast love that allowed the artist’s full commitment to every ranging possibility. Johnston, in essence, barred the doors and threw his physical body into the path of any company naysayers, while his young charge turned the label’s studios, in New York and \u003ca href=\"https://www.youtube.com/watch?v=eos_70yqX8E\" target=\"_blank\" rel=\"noopener\">later in Nashville\u003c/a>, from hit-factory into brothel wherein the ghost of Belle Starr might have entertained both Garcia Marquez and Howlin’ Wolf, each leaning in and leering from opposite ends of the divan.\u003c/p>\n\u003cp>Those of us who consider ourselves the fruit of such strange couplings will spend many hours in the coming days giving thanks for Bob Johnston’s life and courageous good works upon this earth.\u003c/p>\n\u003cp>May we all put a blanket on his bed.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Joe Henry is a songwriter, singer, recording artist and three-time Grammy-winning producer. In his work as a musician, he has collaborated with a disparate array of artists ranging from Ornette Coleman and Madonna to Bonnie Raitt, Harry Belafonte, Mose Allison and Ramblin’ Jack Elliott; from Bill Frisell and Salif Keita to Ani DiFranco, Solomon Burke, Bettye LaVette and Hugh Laurie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>He is also the co-author, with his brother David Henry, of the book \u003c/em>Furious Cool: Richard Pryor and the World That Made Him\u003cem> (Algonquin, 2013).\u003c/em> \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=%27Is+It+Rolling%2C+Bob%3F%27%3A+Remembering+Producer+Bob+Johnston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/219748458″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Over the course of more than a decade, San Francisco’s Vetiver have cemented their reputation as torchbearers of American folk music, all the while pushing boundaries and poking holes into the genre. Their six albums celebrate not just elegant guitar work and sparkling, pastoral arrangements, but a profound understanding of Americana traditions. On “Stranger Still,” however, from the group’s recent album \u003cem>Complete Strangers\u003c/em>, the group embarks into new territory, creating a sonic bed of unexpected sounds on which frontman Andy Cabic builds his subtle melodic hooks. Listen in as Cabic describes the song’s influences, and explains his intentions behind its minimalist, yet kaleidoscopic, sprawling structure in this episode of the podcast — recorded in Cabic’s kitchen on the eve of Vetiver’s tour supporting Wilco.\u003c/p>\n\u003cp>Although Vetiver’s headlining performance this Thursday at the Berkeley Botanical Gardens is sold out, you can \u003ca href=\"http://www.terrapincrossroads.net/events/vetiver/\" target=\"_blank\" rel=\"noopener\">catch them the following evening\u003c/a> at Terrapin Crossroads in San Rafael.\u003c/p>\n\u003cp>Additional songs heard in this episode:\u003c/p>\n\u003cp>\u003cstrong>Wilco\u003c/strong> – “I am Trying to Break Your Heart”\u003cbr>\n\u003cstrong>Primal Scream\u003c/strong> – “Loaded”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/219748458″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/219748458″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Over the course of more than a decade, San Francisco’s Vetiver have cemented their reputation as torchbearers of American folk music, all the while pushing boundaries and poking holes into the genre. Their six albums celebrate not just elegant guitar work and sparkling, pastoral arrangements, but a profound understanding of Americana traditions. On “Stranger Still,” however, from the group’s recent album \u003cem>Complete Strangers\u003c/em>, the group embarks into new territory, creating a sonic bed of unexpected sounds on which frontman Andy Cabic builds his subtle melodic hooks. Listen in as Cabic describes the song’s influences, and explains his intentions behind its minimalist, yet kaleidoscopic, sprawling structure in this episode of the podcast — recorded in Cabic’s kitchen on the eve of Vetiver’s tour supporting Wilco.\u003c/p>\n\u003cp>Although Vetiver’s headlining performance this Thursday at the Berkeley Botanical Gardens is sold out, you can \u003ca href=\"http://www.terrapincrossroads.net/events/vetiver/\" target=\"_blank\" rel=\"noopener\">catch them the following evening\u003c/a> at Terrapin Crossroads in San Rafael.\u003c/p>\n\u003cp>Additional songs heard in this episode:\u003c/p>\n\u003cp>\u003cstrong>Wilco\u003c/strong> – “I am Trying to Break Your Heart”\u003cbr>\n\u003cstrong>Primal Scream\u003c/strong> – “Loaded”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Sideshows: The Birth of Oakland's Hyphy Culture",
"title": "Sideshows: The Birth of Oakland's Hyphy Culture",
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"content": "\u003cp>Cars swerving back and forth, swinging side to side; the sound of tires screeching against concrete; the smell of burnt rubber. All of this makes up the sensory signature of events known as sideshows.\u003c/p>\n\u003cp>Sideshows have a \u003ca href=\"http://kron4.com/2015/06/26/oakland-police-warn-of-illegal-sideshows-this-summer/\" target=\"_blank\">bad reputation \u003c/a>as illegal, dangerous and occasionally violent street car shows, where gunshots may ring out and people could die. But for those who grew up in the early days, sideshows were not so much dangerous as they were innovative. They created a space for self-expression and originality that bubbled up on the streets of Deep East Oakland.\u003c/p>\n\u003cp>“It’s in the soil,” says \u003ca href=\"http://joehackman.com/2010/08/interview-sean-kennedy-good-news-podcast/\" target=\"_blank\">Sean Kennedy\u003c/a>, a multimedia producer and local hip-hop historian. “For some reason the air here in East Oakland breeds that type of creativity.”\u003c/p>\n\u003cp>https://youtu.be/BpjIy3rvfX4\u003c/p>\n\u003cp>\u003cb>Sideshow Beginnings \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kennedy says it goes back to the early 1980s, when the music of the Sugar Hill Gang made it out here to the West Coast. “It seems like it started when hip-hop first got out here,” Kennedy said.\u003c/p>\n\u003cp>I meet Kennedy at the entrance to the Foods Co. in Foothill Square, so deep into East Oakland it is almost San Leandro. Kennedy says this is where it all began.\u003c/p>\n\u003cp>“There was a carnival that used to exist right here in Foothill Square, because there was a skating rink right here,” he says, pointing to what is now a Ross Dress for Less. “All the people would come down here to the skating rink and the carnival.” They would would bring their best cars and just cruise, he says.\u003c/p>\n\u003cp>https://youtu.be/ljUnyv5XUA8\u003c/p>\n\u003cp>Kennedy says that what many people think of as a sideshow these days, all doughnuts and destruction, was not the way it began. Back then, he says, “no one did doughnuts or spun their cars.” It was just peacocking, showing off the cars that were the pride and joy of many -- mostly male -- residents. “That,” Kennedy says, “was the original sideshow of East Oakland.”\u003c/p>\n\u003cp>People had cruised around in their souped up Chevys before, but it was as if the introduction of the new music taught the cars to dance.\u003c/p>\n\u003cp>In Kennedy's description, you can almost imagine the whole scene: Men slowly circling the parking lot in lovingly modified cars painted colors like cherry red or apple green. On the sidelines women watched, wearing tight skirts and showing off skin. The sideshow was a social event, a party in a parking lot, and showing off your car had a familiar goal: to woo women.\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/219807957&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>\u003cb>The Sideshow as Cultural Marketplace\u003c/b>\u003c/p>\n\u003cp>As the sideshows spread, Kennedy says, they became a sort of cultural marketplace where people repped parties, hawked homemade fashion lines and shared the latest in music.\u003c/p>\n\u003cp>Yakpusua Zazaboi \u003ca href=\"http://www.sydewayz.com/index.htm#\" target=\"_blank\">documented sideshows\u003c/a> across East Oakland for his documentary series \"Sidewayz.\" When a proposal to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Sideshow-spectator-law-expected-to-pass-2622930.php\" target=\"_blank\">make it illegal to attend sideshows\u003c/a> went before the Oakland City Council in 2005, Sidewayz videos were singled out in the \u003ca href=\"http://thenewspaper.com/rlc/docs/05-oakland.pdf\" target=\"_blank\">law's language\u003c/a>: “These videos portray the city in a negative light, encourage the proliferation of the activity and allow the promoters to popularize and profit from sideshows.” \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">The law\u003c/a>, championed by then-Mayor Jerry Brown, passed in modified form, allowing those who watched the sideshows from the sidelines to be fined and even arrested.\u003c/p>\n\u003cp>But the sideshow, according to Zazaboi, was a thriving place, part craft fair, part improv performance, and always a place to catch the cultural zeitgeist. The sideshows, he said, were not just part of Oakland's unique hyphy culture, they formed the space in which hyphy was born. (Some of you might ask, \"What's hyphy?\" In fact, the Oxford English Dictionary recently added an entry, suggesting the word dates back to 2002 and giving the following definitions: \"1. Extremely rowdy, excited, or energetic. 2. A style of uptempo hip-hop music and frenetic dancing.\")\u003c/p>\n\u003cp>“You would come out and you would really understand what is popular in Oakland,” Zazaboi says. A key part of that was the music. “I think for about three or four years straight, we used to hear this song by a group called 3X Krazy.”\u003c/p>\n\u003cp>“It was just a baseline and it was so popular and would sound so good on really nice audio systems, it was almost like a sideshow theme,\" Zazaboi says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptou06aABg4\u003c/p>\n\u003cp>When asked to name his pick for the theme of the sideshows, Sean Kennedy says there is really only one: Richie Rich’s sideshow song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l87Z1Z-40ao\u003c/p>\n\u003cp>“Now that's a classic,” Kennedy says. “When it comes to explaining the sideshow, in the early days.”\u003c/p>\n\u003cp>You can hear the whole sideshow in Richie Rich’s deep and sonorous voice. “In Oakland, California,\" he raps, \"every Saturday night brothers be riding, straight-laced zeniths, drop-tops, buckets, high performance.”\u003c/p>\n\u003cp>Music might have been the lifeblood of the sideshow, but according to Kennedy, the heart pumping that blood was the neighborhood's deep-rooted car culture.\u003c/p>\n\u003cp>\u003cstrong>Car Culture and the Sideshow\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10647512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png\">\u003cimg class=\"size-thumbnail wp-image-10647512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png\" alt='\"A-1ing it.\"(@a1springservice/Instagram)' width=\"400\" height=\"399\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-75x75.png 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png 603w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"A-1ing it.\"(@a1springservice/Instagram)\u003c/figcaption>\u003c/figure>\n\u003cp>Ruben Flores greets a customer whose car he’s just modified at A1 Spring Service, a mechanic on the corner of MacArthur Boulevard and 98th Avenue.\u003c/p>\n\u003cp>This was -- and still is -- the go-to place to bring your car for modifications.\u003c/p>\n\u003cp>Flores, who went to Castlemont, the neighborhood high school, got the job straight out of school.\u003c/p>\n\u003cp>“The owner of the shop, he was losing a man, a mechanic, so he came down to the high school to ask about the auto shop program.”\u003c/p>\n\u003cp>Flores was hired on the spot, and he has been here ever since. Now he owns the place.\u003c/p>\n\u003cp>\"The first day of work became the longest day of work, 38 years later,” Flores says, laughing as he shakes his head. Those years have given Flores a passenger seat to car culture in Deep East Oakland. He confirms what Sean Kennedy told me-- that in the beginning, it wasn’t about souping up cars to go fast. “It was going lower,” Flores says. “Low and slow.”\u003c/p>\n\u003cp>Low and slow, Flores said, was a way to show off the beauty of your car. Flores said his shop became known for fixing up cars in a signature style.\u003c/p>\n\u003cp>“What A1 means, in the car culture,” Flores said, “is the stance is higher in the front and lower in the back. So they have that pointing --towards-the-moon type of look.”\u003c/p>\n\u003cp>Yakpasua Zazaboi said everyone knew about A1. “That was the place to go,” he said. “People would say, I have my car sitting A1, it was because of the name of the shop.”\u003c/p>\n\u003cp>But the sideshows began to change and evolve with time; they went from low and slow to fast and loose, with drivers performing tricks with increasing levels of difficulty and danger. The Oakland Police Department began to take notice.\u003c/p>\n\u003cp>Zazaboi says sideshows veered from “a nice slow cruising type of an event to a much faster speed, away-from-the-cops type of an event.”\u003c/p>\n\u003cp>\u003cstrong>Sideshows Run Into the Law\u003c/strong>\u003c/p>\n\u003cp>Everyone has a story about when and how things got out of hand. Zazaboi says it was when guys with cheap cars started doing doughnuts to get attention.\u003c/p>\n\u003cp>Sean Kennedy says it was when the new built-for-speed Mustangs came on the market in the 1980s.\u003c/p>\n\u003cp>Maybe it was the death of a young girl, in a police chase during a sideshow in the mid-'90s.\u003c/p>\n\u003cp>Whatever the exact moment, the crackdown by Oakland police and the city came quickly. New laws were introduced that let the city impound any car involved in a sideshow. Then came the 2005 ordinance, which allowed police to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">permanently confiscate\u003c/a> any car directly involved in a sideshow. According to Zazaboi, that made it personal, because the cars were not just painted pieces of metal to the men who drove them.\u003c/p>\n\u003cp>“Their car is an extension of their ego,” Zazaboi says of sideshow participants. “You take away their car, you kill their ego, and that is exactly what they did out here in Oakland.”\u003c/p>\n\u003cp>Sean Kennedy says that response complicated the already tense relationship between police and the community.\u003c/p>\n\u003cp>\"Does that create an animosity to the police?\" Kennedy asks. \"It becomes a war at that point. And then it becomes a situation where the rebellion is, 'We're going to have sideshows anyway.'\"\u003c/p>\n\u003cp>Both Kennedy and Zazaboi say that while local politicians criminalized the sideshow, local media demonized it, with story after story of violent, out-of-control youth taking over the streets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FfuzDz9XCxc\u003c/p>\n\u003cp>Kennedy admits that bad stuff did go down, and there was by necessity a kind of nomadic, extra-legal element to the sideshows. People brought guns and sold drugs; sometimes fights broke out. And yes, young men acted stupid. But he says all that was just as likely to happen at a Raiders game.\u003c/p>\n\u003cp>Kennedy said despite all that, the sideshow did not breed criminal behavior. The bad behavior, he says, would have been on display with or without the sideshows. Kennedy believes the sideshows were targeted.\u003c/p>\n\u003cp>\"It's not about a car show,\" he says. \"At that point, it's about arresting black youth in Oakland.\"\u003c/p>\n\u003cp>He says the sideshow made it easy to paint East Oakland youth into an already-made stereotype: \"Young black kids who don’t have anything to do with their lives, out there playing around in these cars, carrying guns and selling drugs.”\u003c/p>\n\u003cp>\u003cstrong>Celebrating the Sideshow\u003c/strong>\u003c/p>\n\u003cp>What was lost in that narrative, Kennedy says, was the ingenuity of the sideshow: the mechanical skills it took to work on the cars, the driving skills it took to get them moving and dancing, the coordination to plan what are in essence the Bay Area's first pop-up events.\u003c/p>\n\u003cp>Kennedy acknowledges his perspective has changed with age. Now that he has a few years on him, he is a little more weary of making cars spin like whirling dervishes.\u003c/p>\n\u003cp>\"As much as I love sideshows,\" he says, \"it’s a dangerous culture when it comes to spinning around a half-a-ton vehicle with no barriers and people standing there.\"\u003c/p>\n\u003cp>That is why Kennedy, among others, supported a push to legalize sideshows that gained some ground in the late 2000s. The suggestion was to bring sideshows out of the shadows and turn them into neighborhood street parties. They could even make money, proponents argued.\u003c/p>\n\u003cp>But opponents, like Councilman Larry Reid, who represents Deep East Oakland, countered that it was folly for the city to sanction an illegal activity.\u003c/p>\n\u003cp>Reid says the sideshows slowed down for a bit, but in the last year they've once again become a regular weekend event. He said they take over the street every weekend from Friday to Sunday, around 106th and MacArthur. That is right by Foothill Square, where more than three decades ago, according to Sean Kennedy, sideshows began.\u003c/p>\n\u003cp>\"It is just crazy what the residents along the MacArthur corridor have to endure,\" Reid said. In the past few weeks, right here, there have been incidents, including \u003ca href=\"http://www.sfgate.com/news/article/Suspect-rams-CHP-officer-after-Oakland-sideshow-6447489.php\" target=\"_blank\">this past weekend\u003c/a> when a sideshow participant rammed into a California Highway Patrol car.\u003c/p>\n\u003cp>If you ask Yakpusau Zazaboi, he will say what is happening now is not even a real sideshow.\u003c/p>\n\u003cp>\"I break it down like this now,\" Zazaboi says. \"This is how you know it's a sideshow. If there are clean cars and women out there, you might have a sideshow. If it's a bunch of buckets and a whole bunch of dudes clowning around looking at each other -- you do not have sideshow.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The definition of just what makes a sideshow is constantly in flux. Every generation has its own version, just like every sideshow has people who say it is either a criminal act or a space for the creation of culture. Maybe, just maybe, there is a little bit of both, hanging out at the sideshow.\u003c/p>\n\n",
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"excerpt": "Sideshows have a bad reputation, but they also have a long tradition and East Oakland roots. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cars swerving back and forth, swinging side to side; the sound of tires screeching against concrete; the smell of burnt rubber. All of this makes up the sensory signature of events known as sideshows.\u003c/p>\n\u003cp>Sideshows have a \u003ca href=\"http://kron4.com/2015/06/26/oakland-police-warn-of-illegal-sideshows-this-summer/\" target=\"_blank\">bad reputation \u003c/a>as illegal, dangerous and occasionally violent street car shows, where gunshots may ring out and people could die. But for those who grew up in the early days, sideshows were not so much dangerous as they were innovative. They created a space for self-expression and originality that bubbled up on the streets of Deep East Oakland.\u003c/p>\n\u003cp>“It’s in the soil,” says \u003ca href=\"http://joehackman.com/2010/08/interview-sean-kennedy-good-news-podcast/\" target=\"_blank\">Sean Kennedy\u003c/a>, a multimedia producer and local hip-hop historian. “For some reason the air here in East Oakland breeds that type of creativity.”\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/BpjIy3rvfX4'\n title='//www.youtube.com/embed/BpjIy3rvfX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Sideshow Beginnings \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennedy says it goes back to the early 1980s, when the music of the Sugar Hill Gang made it out here to the West Coast. “It seems like it started when hip-hop first got out here,” Kennedy said.\u003c/p>\n\u003cp>I meet Kennedy at the entrance to the Foods Co. in Foothill Square, so deep into East Oakland it is almost San Leandro. Kennedy says this is where it all began.\u003c/p>\n\u003cp>“There was a carnival that used to exist right here in Foothill Square, because there was a skating rink right here,” he says, pointing to what is now a Ross Dress for Less. “All the people would come down here to the skating rink and the carnival.” They would would bring their best cars and just cruise, he says.\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/ljUnyv5XUA8'\n title='//www.youtube.com/embed/ljUnyv5XUA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kennedy says that what many people think of as a sideshow these days, all doughnuts and destruction, was not the way it began. Back then, he says, “no one did doughnuts or spun their cars.” It was just peacocking, showing off the cars that were the pride and joy of many -- mostly male -- residents. “That,” Kennedy says, “was the original sideshow of East Oakland.”\u003c/p>\n\u003cp>People had cruised around in their souped up Chevys before, but it was as if the introduction of the new music taught the cars to dance.\u003c/p>\n\u003cp>In Kennedy's description, you can almost imagine the whole scene: Men slowly circling the parking lot in lovingly modified cars painted colors like cherry red or apple green. On the sidelines women watched, wearing tight skirts and showing off skin. The sideshow was a social event, a party in a parking lot, and showing off your car had a familiar goal: to woo women.\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/219807957&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>\u003cb>The Sideshow as Cultural Marketplace\u003c/b>\u003c/p>\n\u003cp>As the sideshows spread, Kennedy says, they became a sort of cultural marketplace where people repped parties, hawked homemade fashion lines and shared the latest in music.\u003c/p>\n\u003cp>Yakpusua Zazaboi \u003ca href=\"http://www.sydewayz.com/index.htm#\" target=\"_blank\">documented sideshows\u003c/a> across East Oakland for his documentary series \"Sidewayz.\" When a proposal to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Sideshow-spectator-law-expected-to-pass-2622930.php\" target=\"_blank\">make it illegal to attend sideshows\u003c/a> went before the Oakland City Council in 2005, Sidewayz videos were singled out in the \u003ca href=\"http://thenewspaper.com/rlc/docs/05-oakland.pdf\" target=\"_blank\">law's language\u003c/a>: “These videos portray the city in a negative light, encourage the proliferation of the activity and allow the promoters to popularize and profit from sideshows.” \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">The law\u003c/a>, championed by then-Mayor Jerry Brown, passed in modified form, allowing those who watched the sideshows from the sidelines to be fined and even arrested.\u003c/p>\n\u003cp>But the sideshow, according to Zazaboi, was a thriving place, part craft fair, part improv performance, and always a place to catch the cultural zeitgeist. The sideshows, he said, were not just part of Oakland's unique hyphy culture, they formed the space in which hyphy was born. (Some of you might ask, \"What's hyphy?\" In fact, the Oxford English Dictionary recently added an entry, suggesting the word dates back to 2002 and giving the following definitions: \"1. Extremely rowdy, excited, or energetic. 2. A style of uptempo hip-hop music and frenetic dancing.\")\u003c/p>\n\u003cp>“You would come out and you would really understand what is popular in Oakland,” Zazaboi says. A key part of that was the music. “I think for about three or four years straight, we used to hear this song by a group called 3X Krazy.”\u003c/p>\n\u003cp>“It was just a baseline and it was so popular and would sound so good on really nice audio systems, it was almost like a sideshow theme,\" Zazaboi says.\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/ptou06aABg4'\n title='//www.youtube.com/embed/ptou06aABg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked to name his pick for the theme of the sideshows, Sean Kennedy says there is really only one: Richie Rich’s sideshow song.\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/l87Z1Z-40ao'\n title='//www.youtube.com/embed/l87Z1Z-40ao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Now that's a classic,” Kennedy says. “When it comes to explaining the sideshow, in the early days.”\u003c/p>\n\u003cp>You can hear the whole sideshow in Richie Rich’s deep and sonorous voice. “In Oakland, California,\" he raps, \"every Saturday night brothers be riding, straight-laced zeniths, drop-tops, buckets, high performance.”\u003c/p>\n\u003cp>Music might have been the lifeblood of the sideshow, but according to Kennedy, the heart pumping that blood was the neighborhood's deep-rooted car culture.\u003c/p>\n\u003cp>\u003cstrong>Car Culture and the Sideshow\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10647512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png\">\u003cimg class=\"size-thumbnail wp-image-10647512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png\" alt='\"A-1ing it.\"(@a1springservice/Instagram)' width=\"400\" height=\"399\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-75x75.png 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png 603w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"A-1ing it.\"(@a1springservice/Instagram)\u003c/figcaption>\u003c/figure>\n\u003cp>Ruben Flores greets a customer whose car he’s just modified at A1 Spring Service, a mechanic on the corner of MacArthur Boulevard and 98th Avenue.\u003c/p>\n\u003cp>This was -- and still is -- the go-to place to bring your car for modifications.\u003c/p>\n\u003cp>Flores, who went to Castlemont, the neighborhood high school, got the job straight out of school.\u003c/p>\n\u003cp>“The owner of the shop, he was losing a man, a mechanic, so he came down to the high school to ask about the auto shop program.”\u003c/p>\n\u003cp>Flores was hired on the spot, and he has been here ever since. Now he owns the place.\u003c/p>\n\u003cp>\"The first day of work became the longest day of work, 38 years later,” Flores says, laughing as he shakes his head. Those years have given Flores a passenger seat to car culture in Deep East Oakland. He confirms what Sean Kennedy told me-- that in the beginning, it wasn’t about souping up cars to go fast. “It was going lower,” Flores says. “Low and slow.”\u003c/p>\n\u003cp>Low and slow, Flores said, was a way to show off the beauty of your car. Flores said his shop became known for fixing up cars in a signature style.\u003c/p>\n\u003cp>“What A1 means, in the car culture,” Flores said, “is the stance is higher in the front and lower in the back. So they have that pointing --towards-the-moon type of look.”\u003c/p>\n\u003cp>Yakpasua Zazaboi said everyone knew about A1. “That was the place to go,” he said. “People would say, I have my car sitting A1, it was because of the name of the shop.”\u003c/p>\n\u003cp>But the sideshows began to change and evolve with time; they went from low and slow to fast and loose, with drivers performing tricks with increasing levels of difficulty and danger. The Oakland Police Department began to take notice.\u003c/p>\n\u003cp>Zazaboi says sideshows veered from “a nice slow cruising type of an event to a much faster speed, away-from-the-cops type of an event.”\u003c/p>\n\u003cp>\u003cstrong>Sideshows Run Into the Law\u003c/strong>\u003c/p>\n\u003cp>Everyone has a story about when and how things got out of hand. Zazaboi says it was when guys with cheap cars started doing doughnuts to get attention.\u003c/p>\n\u003cp>Sean Kennedy says it was when the new built-for-speed Mustangs came on the market in the 1980s.\u003c/p>\n\u003cp>Maybe it was the death of a young girl, in a police chase during a sideshow in the mid-'90s.\u003c/p>\n\u003cp>Whatever the exact moment, the crackdown by Oakland police and the city came quickly. New laws were introduced that let the city impound any car involved in a sideshow. Then came the 2005 ordinance, which allowed police to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">permanently confiscate\u003c/a> any car directly involved in a sideshow. According to Zazaboi, that made it personal, because the cars were not just painted pieces of metal to the men who drove them.\u003c/p>\n\u003cp>“Their car is an extension of their ego,” Zazaboi says of sideshow participants. “You take away their car, you kill their ego, and that is exactly what they did out here in Oakland.”\u003c/p>\n\u003cp>Sean Kennedy says that response complicated the already tense relationship between police and the community.\u003c/p>\n\u003cp>\"Does that create an animosity to the police?\" Kennedy asks. \"It becomes a war at that point. And then it becomes a situation where the rebellion is, 'We're going to have sideshows anyway.'\"\u003c/p>\n\u003cp>Both Kennedy and Zazaboi say that while local politicians criminalized the sideshow, local media demonized it, with story after story of violent, out-of-control youth taking over the streets.\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/FfuzDz9XCxc'\n title='//www.youtube.com/embed/FfuzDz9XCxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kennedy admits that bad stuff did go down, and there was by necessity a kind of nomadic, extra-legal element to the sideshows. People brought guns and sold drugs; sometimes fights broke out. And yes, young men acted stupid. But he says all that was just as likely to happen at a Raiders game.\u003c/p>\n\u003cp>Kennedy said despite all that, the sideshow did not breed criminal behavior. The bad behavior, he says, would have been on display with or without the sideshows. Kennedy believes the sideshows were targeted.\u003c/p>\n\u003cp>\"It's not about a car show,\" he says. \"At that point, it's about arresting black youth in Oakland.\"\u003c/p>\n\u003cp>He says the sideshow made it easy to paint East Oakland youth into an already-made stereotype: \"Young black kids who don’t have anything to do with their lives, out there playing around in these cars, carrying guns and selling drugs.”\u003c/p>\n\u003cp>\u003cstrong>Celebrating the Sideshow\u003c/strong>\u003c/p>\n\u003cp>What was lost in that narrative, Kennedy says, was the ingenuity of the sideshow: the mechanical skills it took to work on the cars, the driving skills it took to get them moving and dancing, the coordination to plan what are in essence the Bay Area's first pop-up events.\u003c/p>\n\u003cp>Kennedy acknowledges his perspective has changed with age. Now that he has a few years on him, he is a little more weary of making cars spin like whirling dervishes.\u003c/p>\n\u003cp>\"As much as I love sideshows,\" he says, \"it’s a dangerous culture when it comes to spinning around a half-a-ton vehicle with no barriers and people standing there.\"\u003c/p>\n\u003cp>That is why Kennedy, among others, supported a push to legalize sideshows that gained some ground in the late 2000s. The suggestion was to bring sideshows out of the shadows and turn them into neighborhood street parties. They could even make money, proponents argued.\u003c/p>\n\u003cp>But opponents, like Councilman Larry Reid, who represents Deep East Oakland, countered that it was folly for the city to sanction an illegal activity.\u003c/p>\n\u003cp>Reid says the sideshows slowed down for a bit, but in the last year they've once again become a regular weekend event. He said they take over the street every weekend from Friday to Sunday, around 106th and MacArthur. That is right by Foothill Square, where more than three decades ago, according to Sean Kennedy, sideshows began.\u003c/p>\n\u003cp>\"It is just crazy what the residents along the MacArthur corridor have to endure,\" Reid said. In the past few weeks, right here, there have been incidents, including \u003ca href=\"http://www.sfgate.com/news/article/Suspect-rams-CHP-officer-after-Oakland-sideshow-6447489.php\" target=\"_blank\">this past weekend\u003c/a> when a sideshow participant rammed into a California Highway Patrol car.\u003c/p>\n\u003cp>If you ask Yakpusau Zazaboi, he will say what is happening now is not even a real sideshow.\u003c/p>\n\u003cp>\"I break it down like this now,\" Zazaboi says. \"This is how you know it's a sideshow. If there are clean cars and women out there, you might have a sideshow. If it's a bunch of buckets and a whole bunch of dudes clowning around looking at each other -- you do not have sideshow.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The definition of just what makes a sideshow is constantly in flux. Every generation has its own version, just like every sideshow has people who say it is either a criminal act or a space for the creation of culture. Maybe, just maybe, there is a little bit of both, hanging out at the sideshow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Love's Mixtapes Lost: The High School Cassettes We Can’t Throw Away",
"headTitle": "Love’s Mixtapes Lost: The High School Cassettes We Can’t Throw Away | KQED",
"content": "\u003cp>I recently got the type of message that only arrives through social media: a guy named Matt in Seattle tracked me down on Facebook to let me know that he was getting rid of a car I’d sold him 10 years ago. He’d been cleaning out the silver Subaru for the last time before donating it to a women’s shelter, and he’d found nine of my old cassettes. He’d gotten in touch to send me a photo of my tapes, lined up in three rows against the blue fabric of the trunk.\u003c/p>\n\u003cp>Among those spooled cockroaches were mixtapes from two of my high school boyfriends, both named Greg. Just looking at their handwritten titles was like opening an old photo album I’d forgotten I’d owned. Was there ever a high school mash note as intimate as a mixtape? The Gregs and I, we’d spent hours selecting and recording music, writing out our liner notes, and drawing artwork for these pocket-sized containers of angst and lust. Now that digital playlists are easily swapped and text messages artlessly record our longings, mixtapes are the last 3-D time capsules of the love letters we awkward kids used to craft.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>I grew up 20 minutes outside of Portland, Ore., in a development bordered by farms and golf courses. Nearby stripmalls housed adolescent staples: the 7-Eleven we’d spend summers biking to in search of Slurpees, and Pizza Caboose, where the sports coaches I had no desire to play for took their teams for blistered pies. I could’ve cracked my skull apart with the concentration I put into pretending I lived somewhere else.\u003c/p>\n\u003cp>I took refuge from suburban claustrophobia by discovering new music with my best friend Monica. Her bedroom was my original fantasy portal out of Rock Creek. In grade school we cut out photos of the bands we loved from the pages of Bop magazine and glued them to the wallpaper, covering every inch of space between her bed and the furthest our fingers could reach on tip-toe. We collaged Monica’s walls with pouty New Wave visages, hundreds of yellowing angular haircuts offering a timeline of ’80s fandom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the ’90s I pushed open the wardrobe behind the frosty lipstick bands and discovered a new landscape of groups playing all-ages shows in Portland. I’d buy tapes by “alternative” acts like the Dharma Bums, Oingo Boingo, and Material Issue. These were the weirdos I aspired to meet, and to become, and to connect with other teenagers over. I compiled my favorite tracks onto blank cassettes from Radio Shack. The mixtapes were Morse-code messages I traded with other suburban satellites, hoping we moved in similarly strange orbits.\u003c/p>\n\u003cfigure id=\"attachment_10901534\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapesNine-800x600.jpg\" alt=\"Ten years after selling the car, the tapes survived.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ten years after selling the car, the tapes survived.\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, these curated cassettes were more than just calling cards — they also expressed complex feelings about the recipient. Greg Bobbitt, the older of those high school boyfriends, recently sent me photos of a triple-tape mix I’d made for him, one I’d crafted as we were vacillating towards, as the title explains, “Really Good Friends.” My liner notes, which take up the entire underside of the title card, make me cringe now. Sample lines: “Today is Monday. Monday after I told you everything. Although I want to, I’m not going to write any temporary feelings on this tape. I’m way too confused. This age is hell, but I’d much rather struggle and gain then be sheltered and gain….” And… god, do I have to go on? Mortifying stuff to read. But like a journal, the mixtape is a snapshot of the mercurial emotions I had in high school — about Bobbitt, about any boy I dated, about getting out of Portland. Mixtapes recorded more than just our favorite playlists.\u003c/p>\n\u003cp>My introduction to Bobbitt was complicated. I’d met him back in ’91, while we were in line for a teen dance club called Quest. I’d arrived drunk on Kool-Aid and Everclear. I proceeded to slap him across the face for making some innocuous joke behind me. Cut to us mashed up against one another in Quest’s arcade room hours later, making out in between my barfing into a trash can, a ridiculous flirtation that was followed by years of adolescent drama and then decades of friendship.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>I call Bobbitt, who still lives in Portland, to talk mixtapes after having lost touch with him over the years. He explains that he keeps every correspondence that anyone has ever given him, both written and musical, in a giant Rubbermaid bin. “I never had a journal. I don’t have something that you can look back on where it’s amazing to look at yourself at that age,” he says. “The only thing I have that’s remotely like that are the mixtapes.” He adds that he knows exactly where the four or five mixtapes I made him in high school are: “I wouldn’t get rid of those,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10901536\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapeCover1-800x531.jpg\" alt=\"The cover design of a mixtape: always crucial.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover design of a mixtape: always crucial.\u003c/figcaption>\u003c/figure>\n\u003cp>Bobbitt made the best mixes — double-cassette compilations of the Replacements, Hüsker Dü, Camper Van Beethoven, and other ’90s college rock acts that significantly deepened my musicial appreciation. His tapes also offered me new excuses to leave the suburbs so I could see these bands play live. The cases of these premium high-bias tapes (never the generic bulk brand) would come superglued together, Bobbitt’s handwriting meticulous in part because he only wrote with Uni-Ball fine point pens. He’d make sure the levels were perfect, eliminate any pregnant pauses, and allow every song to come to a complete finish. “I’d do the things that somebody who sequences and masters CDs these days does,” he says now. “The technical side of it was very important to me.”\u003c/p>\n\u003cp>Of the hundred or so mixes he’s made over the years, “Left of the Dial” by the Replacements was on nearly every tape Bobbitt created. The song’s poetic sentiment (“If I don’t see you again for a long, long while / I’ll try to find you left of the dial”) about remaining in someone’s thoughts through music has always resonated with him, and it’s an apt theme when thinking about mixtapes in general. “That line has always struck me as something I’d like to convey to somebody,” he says. “It’s like, ‘You mean something to me, and if we don’t see each other for a long time, we’ll meet up again someday and it’ll be great.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>Greg Keefer, my younger high school boyfriend, had long, wheat-colored hair to Bobbitt’s chocolatey bob. Not long after we’d admitted our mutual crush, Keefer was hit by a drunk driver. The car shattered his leg and left him housebound for months, during which time I delivered homemade cookies and mixtapes to his bedroom. I’d hoped my cassettes could compel him to think about me for at least 60 to 90 minutes a day, depending on the length of the latest mix I’d made him.\u003c/p>\n\u003cp>Keefer was a shy, sweet kid. He says now that he wasn’t the most comfortable teenager. Mixtapes were his way of exposing what he was too timid to say on his own. I’d drive home from his house with the windows rolled down, blasting his favorite power ballad by Alice in Chains, or a spastic punk jam from Jane’s Addiction, feeling caught up in the bombastic emotions he’d expressed on his mix for me. In the end, though, music didn’t save us. We went back to being friends after a just month of making out — from the neck up, so as to not disturb his broken leg.\u003c/p>\n\u003cfigure id=\"attachment_10901537\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-800x505.jpg\" alt=\"An entire generation mastered the art of tiny handwriting, solely for mixtapes. \" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-960x606.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An entire generation mastered the art of tiny handwriting, solely for mixtapes.\u003c/figcaption>\u003c/figure>\n\u003cp>After not hearing his voice in decades, I call Keefer at his current home in Austin, Tex. He tells me that he also has a box of mixtapes at home, one that’s made every move with him since high school, because they’re mementos that have retained all their meaning. Although not every Keefer cassette contained love songs.\u003c/p>\n\u003cp>One old girlfriend of his (who later became his wife, then ex-wife) got the bulk of the mixtapes he made. She grew up in a conservative Mormon household where her mom would toss her Beastie Boys tapes in the trash. But Keefer’s tapes would slip in under the radar, shepherding taboo White Lion ballads and Van Halen anthems inside coverless cassettes.\u003c/p>\n\u003cp>His relationship with this girl was tumultuous, he tells me, and at one point in high school she started dating other people. “That’s when I’d make the ‘I’m pissed at you but I still care about you’ tape, with all the little jabs,” he says with a laugh. Those tapes would always include some Zeppelin, particularly “Your Time is Gonna Come.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>No matter the circumstances, though, making mixtapes was a romantic rush that we just don’t get in a digital age. “At that point in time, no one could communicate better than the artists we looked to and loved,” Keefer says. “Being able to take someone’s work and apply it to someone else in hopes that they have the same connection that you do, that’s such an important part of connectivity.”\u003c/p>\n\u003cp>Or, to be a little more crass about it: “I know this sounds awful, but I don’t know that I ever made mixtape for somebody whose pants I didn’t want to get into,” says Bobbitt with a laugh. And for the most part, it seems, it worked for him.\u003c/p>\n\u003cfigure id=\"attachment_10901538\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapesSubaru1-800x540.jpg\" alt=\"The silver Subaru of yore.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The silver Subaru of yore.\u003c/figcaption>\u003c/figure>\n\u003cp>In making our mixtapes, some of us were too wordy while others only found courage in the lyrics of others. We each pressed play and record and pause and record and rewound and doodled and listened until, hours later, we had a tender artifact to share with someone about whom we cared deeply. And although I lost my mixtapes in a car I sold to a stranger ten years ago, I appreciate the way those analog ghosts triggered special memories of early, fumbling courtships that otherwise would’ve remained lodged away forever.\u003c/p>\n\u003cp>I don’t have any way to play cassettes today. So I don’t need Matt from Seattle, who suddenly disappeared from our Facebook conversation, to send those old mixtapes back to me. My current Subaru only accepts CDs, and the floor of my car is scattered with them, including all the blank ones my husband has burned for us over the three years we’ve been together. He sometimes makes mixes, other times burns whole CDs. They come with no liner notes or cases, no sprawling love letters from the music geek I married last year. And yet, I can pick up the one labeled for the band Family Portrait and remember exactly when he Dropboxed me that album, the night after our second date, when I already felt like I might be falling in love with him. It may not be a mixtape per se, but it’s a modern time capsule for this digital era, bringing with it different sorts of memories from left of the dial.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/pub/jennifer-maerz/9/188/82\" target=\"_blank\" rel=\"noopener\">Jennifer Maerz\u003c/a> is the former editor-in-chief of \u003c/em>The Bold Italic\u003cem>. Prior to that, she served as music editor for \u003c/em>The Stranger\u003cem> and the \u003c/em>SF Weekly\u003cem>, respectively. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I recently got the type of message that only arrives through social media: a guy named Matt in Seattle tracked me down on Facebook to let me know that he was getting rid of a car I’d sold him 10 years ago. He’d been cleaning out the silver Subaru for the last time before donating it to a women’s shelter, and he’d found nine of my old cassettes. He’d gotten in touch to send me a photo of my tapes, lined up in three rows against the blue fabric of the trunk.\u003c/p>\n\u003cp>Among those spooled cockroaches were mixtapes from two of my high school boyfriends, both named Greg. Just looking at their handwritten titles was like opening an old photo album I’d forgotten I’d owned. Was there ever a high school mash note as intimate as a mixtape? The Gregs and I, we’d spent hours selecting and recording music, writing out our liner notes, and drawing artwork for these pocket-sized containers of angst and lust. Now that digital playlists are easily swapped and text messages artlessly record our longings, mixtapes are the last 3-D time capsules of the love letters we awkward kids used to craft.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>I grew up 20 minutes outside of Portland, Ore., in a development bordered by farms and golf courses. Nearby stripmalls housed adolescent staples: the 7-Eleven we’d spend summers biking to in search of Slurpees, and Pizza Caboose, where the sports coaches I had no desire to play for took their teams for blistered pies. I could’ve cracked my skull apart with the concentration I put into pretending I lived somewhere else.\u003c/p>\n\u003cp>I took refuge from suburban claustrophobia by discovering new music with my best friend Monica. Her bedroom was my original fantasy portal out of Rock Creek. In grade school we cut out photos of the bands we loved from the pages of Bop magazine and glued them to the wallpaper, covering every inch of space between her bed and the furthest our fingers could reach on tip-toe. We collaged Monica’s walls with pouty New Wave visages, hundreds of yellowing angular haircuts offering a timeline of ’80s fandom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the ’90s I pushed open the wardrobe behind the frosty lipstick bands and discovered a new landscape of groups playing all-ages shows in Portland. I’d buy tapes by “alternative” acts like the Dharma Bums, Oingo Boingo, and Material Issue. These were the weirdos I aspired to meet, and to become, and to connect with other teenagers over. I compiled my favorite tracks onto blank cassettes from Radio Shack. The mixtapes were Morse-code messages I traded with other suburban satellites, hoping we moved in similarly strange orbits.\u003c/p>\n\u003cfigure id=\"attachment_10901534\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapesNine-800x600.jpg\" alt=\"Ten years after selling the car, the tapes survived.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesNine.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ten years after selling the car, the tapes survived.\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, these curated cassettes were more than just calling cards — they also expressed complex feelings about the recipient. Greg Bobbitt, the older of those high school boyfriends, recently sent me photos of a triple-tape mix I’d made for him, one I’d crafted as we were vacillating towards, as the title explains, “Really Good Friends.” My liner notes, which take up the entire underside of the title card, make me cringe now. Sample lines: “Today is Monday. Monday after I told you everything. Although I want to, I’m not going to write any temporary feelings on this tape. I’m way too confused. This age is hell, but I’d much rather struggle and gain then be sheltered and gain….” And… god, do I have to go on? Mortifying stuff to read. But like a journal, the mixtape is a snapshot of the mercurial emotions I had in high school — about Bobbitt, about any boy I dated, about getting out of Portland. Mixtapes recorded more than just our favorite playlists.\u003c/p>\n\u003cp>My introduction to Bobbitt was complicated. I’d met him back in ’91, while we were in line for a teen dance club called Quest. I’d arrived drunk on Kool-Aid and Everclear. I proceeded to slap him across the face for making some innocuous joke behind me. Cut to us mashed up against one another in Quest’s arcade room hours later, making out in between my barfing into a trash can, a ridiculous flirtation that was followed by years of adolescent drama and then decades of friendship.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>I call Bobbitt, who still lives in Portland, to talk mixtapes after having lost touch with him over the years. He explains that he keeps every correspondence that anyone has ever given him, both written and musical, in a giant Rubbermaid bin. “I never had a journal. I don’t have something that you can look back on where it’s amazing to look at yourself at that age,” he says. “The only thing I have that’s remotely like that are the mixtapes.” He adds that he knows exactly where the four or five mixtapes I made him in high school are: “I wouldn’t get rid of those,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10901536\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapeCover1-800x531.jpg\" alt=\"The cover design of a mixtape: always crucial.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover design of a mixtape: always crucial.\u003c/figcaption>\u003c/figure>\n\u003cp>Bobbitt made the best mixes — double-cassette compilations of the Replacements, Hüsker Dü, Camper Van Beethoven, and other ’90s college rock acts that significantly deepened my musicial appreciation. His tapes also offered me new excuses to leave the suburbs so I could see these bands play live. The cases of these premium high-bias tapes (never the generic bulk brand) would come superglued together, Bobbitt’s handwriting meticulous in part because he only wrote with Uni-Ball fine point pens. He’d make sure the levels were perfect, eliminate any pregnant pauses, and allow every song to come to a complete finish. “I’d do the things that somebody who sequences and masters CDs these days does,” he says now. “The technical side of it was very important to me.”\u003c/p>\n\u003cp>Of the hundred or so mixes he’s made over the years, “Left of the Dial” by the Replacements was on nearly every tape Bobbitt created. The song’s poetic sentiment (“If I don’t see you again for a long, long while / I’ll try to find you left of the dial”) about remaining in someone’s thoughts through music has always resonated with him, and it’s an apt theme when thinking about mixtapes in general. “That line has always struck me as something I’d like to convey to somebody,” he says. “It’s like, ‘You mean something to me, and if we don’t see each other for a long time, we’ll meet up again someday and it’ll be great.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>Greg Keefer, my younger high school boyfriend, had long, wheat-colored hair to Bobbitt’s chocolatey bob. Not long after we’d admitted our mutual crush, Keefer was hit by a drunk driver. The car shattered his leg and left him housebound for months, during which time I delivered homemade cookies and mixtapes to his bedroom. I’d hoped my cassettes could compel him to think about me for at least 60 to 90 minutes a day, depending on the length of the latest mix I’d made him.\u003c/p>\n\u003cp>Keefer was a shy, sweet kid. He says now that he wasn’t the most comfortable teenager. Mixtapes were his way of exposing what he was too timid to say on his own. I’d drive home from his house with the windows rolled down, blasting his favorite power ballad by Alice in Chains, or a spastic punk jam from Jane’s Addiction, feeling caught up in the bombastic emotions he’d expressed on his mix for me. In the end, though, music didn’t save us. We went back to being friends after a just month of making out — from the neck up, so as to not disturb his broken leg.\u003c/p>\n\u003cfigure id=\"attachment_10901537\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-800x505.jpg\" alt=\"An entire generation mastered the art of tiny handwriting, solely for mixtapes. \" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg-960x606.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapeCover2.jpg.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An entire generation mastered the art of tiny handwriting, solely for mixtapes.\u003c/figcaption>\u003c/figure>\n\u003cp>After not hearing his voice in decades, I call Keefer at his current home in Austin, Tex. He tells me that he also has a box of mixtapes at home, one that’s made every move with him since high school, because they’re mementos that have retained all their meaning. Although not every Keefer cassette contained love songs.\u003c/p>\n\u003cp>One old girlfriend of his (who later became his wife, then ex-wife) got the bulk of the mixtapes he made. She grew up in a conservative Mormon household where her mom would toss her Beastie Boys tapes in the trash. But Keefer’s tapes would slip in under the radar, shepherding taboo White Lion ballads and Van Halen anthems inside coverless cassettes.\u003c/p>\n\u003cp>His relationship with this girl was tumultuous, he tells me, and at one point in high school she started dating other people. “That’s when I’d make the ‘I’m pissed at you but I still care about you’ tape, with all the little jabs,” he says with a laugh. Those tapes would always include some Zeppelin, particularly “Your Time is Gonna Come.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10901372\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg\" alt=\"CassetteBreakSM\" width=\"1400\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-400x36.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-800x72.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-1180x106.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CassetteBreakSM-960x86.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003c/p>\n\u003cp>No matter the circumstances, though, making mixtapes was a romantic rush that we just don’t get in a digital age. “At that point in time, no one could communicate better than the artists we looked to and loved,” Keefer says. “Being able to take someone’s work and apply it to someone else in hopes that they have the same connection that you do, that’s such an important part of connectivity.”\u003c/p>\n\u003cp>Or, to be a little more crass about it: “I know this sounds awful, but I don’t know that I ever made mixtape for somebody whose pants I didn’t want to get into,” says Bobbitt with a laugh. And for the most part, it seems, it worked for him.\u003c/p>\n\u003cfigure id=\"attachment_10901538\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10901538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TapesSubaru1-800x540.jpg\" alt=\"The silver Subaru of yore.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TapesSubaru1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The silver Subaru of yore.\u003c/figcaption>\u003c/figure>\n\u003cp>In making our mixtapes, some of us were too wordy while others only found courage in the lyrics of others. We each pressed play and record and pause and record and rewound and doodled and listened until, hours later, we had a tender artifact to share with someone about whom we cared deeply. And although I lost my mixtapes in a car I sold to a stranger ten years ago, I appreciate the way those analog ghosts triggered special memories of early, fumbling courtships that otherwise would’ve remained lodged away forever.\u003c/p>\n\u003cp>I don’t have any way to play cassettes today. So I don’t need Matt from Seattle, who suddenly disappeared from our Facebook conversation, to send those old mixtapes back to me. My current Subaru only accepts CDs, and the floor of my car is scattered with them, including all the blank ones my husband has burned for us over the three years we’ve been together. He sometimes makes mixes, other times burns whole CDs. They come with no liner notes or cases, no sprawling love letters from the music geek I married last year. And yet, I can pick up the one labeled for the band Family Portrait and remember exactly when he Dropboxed me that album, the night after our second date, when I already felt like I might be falling in love with him. It may not be a mixtape per se, but it’s a modern time capsule for this digital era, bringing with it different sorts of memories from left of the dial.\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>\u003ca href=\"https://www.linkedin.com/pub/jennifer-maerz/9/188/82\" target=\"_blank\" rel=\"noopener\">Jennifer Maerz\u003c/a> is the former editor-in-chief of \u003c/em>The Bold Italic\u003cem>. Prior to that, she served as music editor for \u003c/em>The Stranger\u003cem> and the \u003c/em>SF Weekly\u003cem>, respectively. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift, Regular Super Normal Girl Like You and Me, Plays Levi's Stadium",
"headTitle": "Taylor Swift, Regular Super Normal Girl Like You and Me, Plays Levi’s Stadium | KQED",
"content": "\u003cp>There is very little to say about Taylor Swift that has not already been said about Taylor Swift — in thinkpieces, in profiles, in the daily analysis of her Twitter feed that passes for “celebrity journalism” in 2015. But try as you might to get to the heart of why 25-year-old Taylor Alison Swift is the biggest pop star in the world right now, you won’t really understand it until you see her perform live.\u003c/p>\n\u003cp>This is not to say that her vocal performance at Levi’s Stadium on Aug. 14, the first of two nights she played at the squeaky-clean new venue this weekend, exactly blew me away. Nor did any of the visual elements of the stage show, although her team of hard-working, hard-sweating male backup dancers deserve a nod. I like a lot of Taylor Swift’s music and I find her fascinating as a phenomenon, I should say upfront. But the thing I did not comprehend until I saw Taylor Swift in a glittery blue two-piece, perched atop a runway that had morphed into a giant swinging crane, maneuvering over a crowd of 50,000 screaming fans who all paid $150 to $1500 to be there and begging them to believe that \u003cem>no really, I’m a big dork, totally insecure, super normal and just like you\u003c/em>, is that Taylor Swift has maybe pulled off the biggest trick in the history of pop music. It’s a coup of the highest degree to be able to make a surprised face and have it communicate that you can’t believe all these people are here to see little old you while you are flying over them, literally dancing on a sparkly pedestal in the center of an enormous football field.\u003c/p>\n\u003cfigure id=\"attachment_10900527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayEmbed-e1439793159480.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“This part of the country has always been really special to me,” she said early in the evening, smile spreading across her face, which would have been a more convincing comment if she had referred to it as the Bay Area and not “Santa Clara, California!” at least a half-dozen times over the course of her two-hour set. Still, the attempt to make us all feel special ran strong through her stage banter, which took the form of confessional, sometimes rambling pseudo-diary entries: about how if someone’s not texting you back within a reasonable time frame you deserve better (sure!); about how it’s important, when you find happiness, to just enjoy it and not be fearful about when it’s going to end. A monologue about how much she appreciates that her fans feel comfortable enough to share their lives with her via social media turned into the following: “So I just want to give a big shout out to all the people here who have anything to do with tech!” Woooo. Eat your hearts out, \u003ca href=\"http://gizmodo.com/meet-the-truthers-who-think-taylor-swift-plotted-with-a-1713491244\" target=\"_blank\" rel=\"noopener\">Apple Music truthers\u003c/a>. The woman knows how to stay on brand.\u003c/p>\n\u003cp>As for the songs: This was the \u003cem>1989\u003c/em> tour, a party for the album which signaled that Swift’s crossover from country to pure pop is complete, and she performed nearly the entire hook-filled, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6576210/taylor-swift-bad-blood-max-martin-20th-number-1-hot-100\" target=\"_blank\" rel=\"noopener\">Max Martin-coated album\u003c/a>, opening with “Welcome to New York” as the city’s skyline appeared behind her. As pop stars go, Swift has always been a strong songwriter, even if stadium shows don’t exactly lend themselves to highlighting it. “Blank Space” sounded good because “Blank Space” is an exceedingly good pop song. “I Knew You Were Trouble,” off 2012’s \u003cem>Red\u003c/em>, got the most exciting reboot, with super-heavy electric guitar and industrial levels of reverb turning it into something like metal; in an alternate universe it could have been played off a truckbed by the crazy guitar guy in \u003cem>Mad Max: Fury Road\u003c/em>. “Love Story,” which she explained she wanted to reinterpret to make it blend with the other tracks on \u003cem>1989\u003c/em>, fared much worse, sounding more like a discarded, downtempo Abba tune than a reinvented country-pop one. The rapping breakdown on “Shake It Off” was even more embarrassing live than it is in the music video, which I didn’t know was possible. “Out of the Woods” continues to be the most underrated song on the record, helped here tremendously by a chorus of live backup vocalists, not as tremendously by highly literal visuals (oh look we’re in the woods and now we’re, um, out of them).\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED) \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general, the visuals provided by the crowd, each of us dutifully wearing the multi-colored light-up bracelets that had been taped to our seats, provided the most interesting scenery of the night. They were more interesting, certainly, than anything Swift’s \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/kaylor-forever\" target=\"_blank\" rel=\"noopener\">carefully curated gaggle of famous friends\u003c/a> had to say about her in a series of pre-taped interviews that ran on giant screens during set breaks and costume changes. “A typical hang with Taylor? Well, there’s always food — Chinese takeout that you eat way too much of, baked goods,” giggled supermodel Cara Delevingne, prompting more than one of us to flip her the bird, I’m guessing. The members of Haim talked about Swift’s cats, while Lena Dunham, Jaime King, and Selena Gomez all shared their own “she’s totally just a regular girl” type of anecdotes that totally just felt, well, forced. If you’re really just a regular girl, why am I watching supermodels on giant screens insisting that you’re really just a regular girl?\u003c/p>\n\u003cfigure id=\"attachment_10900529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayPLot-e1439793280237.jpg\" alt=\"Taylor Swift fans in the parking lot at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"490\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fans in the parking lot at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it doesn’t matter what any music or culture critic has to say about Taylor Swift, because for those who belong to Taylor Swift’s empire — and there are zero barriers to entry — the distinction between “super normal real girl Taylor Swift” and “years of market research smushed into the shape of a leggy blonde billionaire named Taylor Swift” is a false dichotomy. If you are a 13-year-old girl right now, you have grown up following your favorite musicians on Twitter and hoping they will reply to you, and thinking celebrities owe you their private lives via Instagram, and Taylor Swift is without a doubt the best at this particular game. Throw in an understanding of how to skirt the line between family-friendly tween idol and legitimate sex symbol, a remarkable control of branding, some perfectly general lyrics about self-esteem and relationships — and, yes, hard work — and you’ve got yourself a truly exceptional pop star.\u003c/p>\n\u003cp>What could be realer than that?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Friday night, between perfectly polished songs from her album '1989,' Taylor Swift continued her hat trick of appearing completely perplexed at her own massive popularity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is very little to say about Taylor Swift that has not already been said about Taylor Swift — in thinkpieces, in profiles, in the daily analysis of her Twitter feed that passes for “celebrity journalism” in 2015. But try as you might to get to the heart of why 25-year-old Taylor Alison Swift is the biggest pop star in the world right now, you won’t really understand it until you see her perform live.\u003c/p>\n\u003cp>This is not to say that her vocal performance at Levi’s Stadium on Aug. 14, the first of two nights she played at the squeaky-clean new venue this weekend, exactly blew me away. Nor did any of the visual elements of the stage show, although her team of hard-working, hard-sweating male backup dancers deserve a nod. I like a lot of Taylor Swift’s music and I find her fascinating as a phenomenon, I should say upfront. But the thing I did not comprehend until I saw Taylor Swift in a glittery blue two-piece, perched atop a runway that had morphed into a giant swinging crane, maneuvering over a crowd of 50,000 screaming fans who all paid $150 to $1500 to be there and begging them to believe that \u003cem>no really, I’m a big dork, totally insecure, super normal and just like you\u003c/em>, is that Taylor Swift has maybe pulled off the biggest trick in the history of pop music. It’s a coup of the highest degree to be able to make a surprised face and have it communicate that you can’t believe all these people are here to see little old you while you are flying over them, literally dancing on a sparkly pedestal in the center of an enormous football field.\u003c/p>\n\u003cfigure id=\"attachment_10900527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayEmbed-e1439793159480.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“This part of the country has always been really special to me,” she said early in the evening, smile spreading across her face, which would have been a more convincing comment if she had referred to it as the Bay Area and not “Santa Clara, California!” at least a half-dozen times over the course of her two-hour set. Still, the attempt to make us all feel special ran strong through her stage banter, which took the form of confessional, sometimes rambling pseudo-diary entries: about how if someone’s not texting you back within a reasonable time frame you deserve better (sure!); about how it’s important, when you find happiness, to just enjoy it and not be fearful about when it’s going to end. A monologue about how much she appreciates that her fans feel comfortable enough to share their lives with her via social media turned into the following: “So I just want to give a big shout out to all the people here who have anything to do with tech!” Woooo. Eat your hearts out, \u003ca href=\"http://gizmodo.com/meet-the-truthers-who-think-taylor-swift-plotted-with-a-1713491244\" target=\"_blank\" rel=\"noopener\">Apple Music truthers\u003c/a>. The woman knows how to stay on brand.\u003c/p>\n\u003cp>As for the songs: This was the \u003cem>1989\u003c/em> tour, a party for the album which signaled that Swift’s crossover from country to pure pop is complete, and she performed nearly the entire hook-filled, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6576210/taylor-swift-bad-blood-max-martin-20th-number-1-hot-100\" target=\"_blank\" rel=\"noopener\">Max Martin-coated album\u003c/a>, opening with “Welcome to New York” as the city’s skyline appeared behind her. As pop stars go, Swift has always been a strong songwriter, even if stadium shows don’t exactly lend themselves to highlighting it. “Blank Space” sounded good because “Blank Space” is an exceedingly good pop song. “I Knew You Were Trouble,” off 2012’s \u003cem>Red\u003c/em>, got the most exciting reboot, with super-heavy electric guitar and industrial levels of reverb turning it into something like metal; in an alternate universe it could have been played off a truckbed by the crazy guitar guy in \u003cem>Mad Max: Fury Road\u003c/em>. “Love Story,” which she explained she wanted to reinterpret to make it blend with the other tracks on \u003cem>1989\u003c/em>, fared much worse, sounding more like a discarded, downtempo Abba tune than a reinvented country-pop one. The rapping breakdown on “Shake It Off” was even more embarrassing live than it is in the music video, which I didn’t know was possible. “Out of the Woods” continues to be the most underrated song on the record, helped here tremendously by a chorus of live backup vocalists, not as tremendously by highly literal visuals (oh look we’re in the woods and now we’re, um, out of them).\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED) \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general, the visuals provided by the crowd, each of us dutifully wearing the multi-colored light-up bracelets that had been taped to our seats, provided the most interesting scenery of the night. They were more interesting, certainly, than anything Swift’s \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/kaylor-forever\" target=\"_blank\" rel=\"noopener\">carefully curated gaggle of famous friends\u003c/a> had to say about her in a series of pre-taped interviews that ran on giant screens during set breaks and costume changes. “A typical hang with Taylor? Well, there’s always food — Chinese takeout that you eat way too much of, baked goods,” giggled supermodel Cara Delevingne, prompting more than one of us to flip her the bird, I’m guessing. The members of Haim talked about Swift’s cats, while Lena Dunham, Jaime King, and Selena Gomez all shared their own “she’s totally just a regular girl” type of anecdotes that totally just felt, well, forced. If you’re really just a regular girl, why am I watching supermodels on giant screens insisting that you’re really just a regular girl?\u003c/p>\n\u003cfigure id=\"attachment_10900529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayPLot-e1439793280237.jpg\" alt=\"Taylor Swift fans in the parking lot at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"490\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fans in the parking lot at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it doesn’t matter what any music or culture critic has to say about Taylor Swift, because for those who belong to Taylor Swift’s empire — and there are zero barriers to entry — the distinction between “super normal real girl Taylor Swift” and “years of market research smushed into the shape of a leggy blonde billionaire named Taylor Swift” is a false dichotomy. If you are a 13-year-old girl right now, you have grown up following your favorite musicians on Twitter and hoping they will reply to you, and thinking celebrities owe you their private lives via Instagram, and Taylor Swift is without a doubt the best at this particular game. Throw in an understanding of how to skirt the line between family-friendly tween idol and legitimate sex symbol, a remarkable control of branding, some perfectly general lyrics about self-esteem and relationships — and, yes, hard work — and you’ve got yourself a truly exceptional pop star.\u003c/p>\n\u003cp>What could be realer than that?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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": {
"site": "news",
"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/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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