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"title": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A variety of jazz, blues and world music across 13 stages\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 6 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rashaan Roland Kirk Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A celebration of legendary jazz saxophonist Rahsaan Roland Kirk\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 4 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cafe Stritch\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Con Brio is having a moment. The San Francisco soul band landed the challenging and high profile assignment of opening up San Jose Jazz’s\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> Summer Fest \u003c/a>on the main stage Friday afternoon at the north end of the Plaza de Cesar Chavez. Ziek McCarter, Con Brio’s dynamic lead vocalist and snake-hipped guiding spirit, did his best to spark the weekend-long street party, and by the end of the 80-minute set he could be proud of a job well done. \u003c/p>\n\u003cp>Summer Fest kicks into frenzy mode around noon Saturday, with 13 stages and half a dozen acts performing simultaneously in venues and stages arrayed around the plaza through Sunday night. Friday’s more limited offerings set the mood for the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_10885344\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg\" alt=\"Con Brio\" width=\"735\" height=\"600\" class=\"size-medium wp-image-10885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2.jpg 800w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sleek and sinewy funk/disco combo that makes the most of its six-piece instrumentation, Con Brio rides on the buoyant crest of Benjamin Andrews’ relentlessly grooving rhythm guitar. With a beseeching tenor that floats effortlessly up to a silky smooth falsetto, McCarter occupies the uncrowded sweet-end of the soul vocal spectrum. Egalitarian in outlook and decidedly anti-materialist in sensibility, Con Brio purveys San Francisco R&B, though they’re half a hook away from breaking out of the Bay Area. The band’s best songs, like the anthem “Never Going to be the Same,” sound like half-forgotten hits from 1978 (the band’s moment continues this weekend when Con Brio opens for Morris Day and the Time at Stern Grove on Sunday afternoon).\u003c/p>\n\u003cp>Strolling down 1\u003csup>st\u003c/sup> Street, Summer Fest and San Jose’s First Friday street party converged for the first time, and the air was suddenly charged with the sound of pure rhumba. San Jose Jazz has always put Afro-Caribbean music at the center of the festival, but this was something new and extraordinary, as Cuban conguero Jesus Diaz led an all-star rhumba session from the back of SJZ Boom Box Stage (a box truck with the side cut out and painted to look like a giant boom box). It was like stumbling into a street corner gathering in Havana, with Diaz and vocalist Fito Reynoso delivering invocations accompanied by a conga battery including unbilled percussion master Michael Spiro\u003c/p>\n\u003cp>So where was the jazz happening? On Friday, the prime spot was also on First Street, where Café Stritch was in the midst of the third annual Rahsaanathon, a mini-festival that parallels but isn’t officially part of Summer Fest, and summons the spirit of the singular horn player, composer, and bandleader Rahsaan Roland Kirk.\u003c/p>\n\u003cfigure id=\"attachment_10885346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-800x534.jpg\" alt=\"Jesus Diaz\" width=\"800\" height=\"534\" class=\"size-medium wp-image-10885346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Diaz \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday was the second of three nights featuring East Bay-raised trombonist Steve Turre, a fixture on the New York scene for some four decades who spent his formative years playing with Kirk on Bay Area stages. Turre has presented Kirk’s music around the world, but Café Stritch has quickly become his Rahsaanian homebase.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating the occasion of Kirk’s 80\u003csup>th\u003c/sup> birthday (1935-1977), Turre’s Eulipion All-Stars feature Oakland-raised New York drummer Darrell Green, bassist Marcus Shelby, pianist Matt Clark, alto and soprano saxophonist Charles McNeal (who is much missed in the Bay Area since relocating to Las Vegas), and protean multi-instrumentalist James Carter (who also plays a quartet show with the same rhythm section at Stritch on Sunday). \u003c/p>\n\u003cp>Kirk wrote memorable themes that embodied his tragic, ecstatic and supremely humane sensibility, like the episodic “Three For the Festival” and sassy “Dorthaan’s Walk,” and the Eulipion All-Stars engaged fully with the music’s unruly, emotionally charged spirit.\u003c/p>\n\u003cfigure id=\"attachment_10885347\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tower-of-Power-800x517.jpg\" alt=\"Tower of Power at San Jose Jazz’s Summer Fest\" width=\"800\" height=\"517\" class=\"size-medium wp-image-10885347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power-400x259.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power at San Jose Jazz’s Summer Fest \u003ccite>(Courtesy of San Jose Jazz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As on the previous Rahsaanathons, the ageless poet Betty Neals was on hand to recite her verse she recorded with Kirk on his album classic 1976 \u003cem>The Return of the 5000 lb Man\u003c/em>, providing the evening with a true benediction (a blessing amplified by Kirk’s widow Dorthaan Kirk, who was also in the house). And powerhouse blues and jazz singer Terrie Odabi infused the Eulipion theme with a regal and earthy air (she headlines her own show at Yoshi’s on Sept. 8). Around midnight Café Stritch’s Steve Borkenhagen presented Carter with Kirk’s reconditioned namesake Stritch, a straight alto with a keening tone, adding another layer to the Kirkian communion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the best festivals leave you exhilarated by music you experienced and frustrated by the acts you missed, Summer Fest and the Rahsaanathon deserve their reputations as being some of the Bay Area’s essential cultural events. For Saturday, bring on the Brazilians with Letieres Leite and Orchestra Rumpilezz!\u003c/p>\n\n",
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"excerpt": "San Jose Jazz's Summer Fest soars with funk, rhumba and the ecstatic music of Rahsaan Roland Kirk on Friday. And then things really get hot on Saturday.",
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"description": "San Jose Jazz's Summer Fest soars with funk, rhumba and the ecstatic music of Rahsaan Roland Kirk on Friday. And then things really get hot on Saturday.",
"title": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz | KQED",
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"headline": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A variety of jazz, blues and world music across 13 stages\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 6 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rashaan Roland Kirk Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A celebration of legendary jazz saxophonist Rahsaan Roland Kirk\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 4 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cafe Stritch\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Con Brio is having a moment. The San Francisco soul band landed the challenging and high profile assignment of opening up San Jose Jazz’s\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> Summer Fest \u003c/a>on the main stage Friday afternoon at the north end of the Plaza de Cesar Chavez. Ziek McCarter, Con Brio’s dynamic lead vocalist and snake-hipped guiding spirit, did his best to spark the weekend-long street party, and by the end of the 80-minute set he could be proud of a job well done. \u003c/p>\n\u003cp>Summer Fest kicks into frenzy mode around noon Saturday, with 13 stages and half a dozen acts performing simultaneously in venues and stages arrayed around the plaza through Sunday night. Friday’s more limited offerings set the mood for the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_10885344\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg\" alt=\"Con Brio\" width=\"735\" height=\"600\" class=\"size-medium wp-image-10885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2.jpg 800w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sleek and sinewy funk/disco combo that makes the most of its six-piece instrumentation, Con Brio rides on the buoyant crest of Benjamin Andrews’ relentlessly grooving rhythm guitar. With a beseeching tenor that floats effortlessly up to a silky smooth falsetto, McCarter occupies the uncrowded sweet-end of the soul vocal spectrum. Egalitarian in outlook and decidedly anti-materialist in sensibility, Con Brio purveys San Francisco R&B, though they’re half a hook away from breaking out of the Bay Area. The band’s best songs, like the anthem “Never Going to be the Same,” sound like half-forgotten hits from 1978 (the band’s moment continues this weekend when Con Brio opens for Morris Day and the Time at Stern Grove on Sunday afternoon).\u003c/p>\n\u003cp>Strolling down 1\u003csup>st\u003c/sup> Street, Summer Fest and San Jose’s First Friday street party converged for the first time, and the air was suddenly charged with the sound of pure rhumba. San Jose Jazz has always put Afro-Caribbean music at the center of the festival, but this was something new and extraordinary, as Cuban conguero Jesus Diaz led an all-star rhumba session from the back of SJZ Boom Box Stage (a box truck with the side cut out and painted to look like a giant boom box). It was like stumbling into a street corner gathering in Havana, with Diaz and vocalist Fito Reynoso delivering invocations accompanied by a conga battery including unbilled percussion master Michael Spiro\u003c/p>\n\u003cp>So where was the jazz happening? On Friday, the prime spot was also on First Street, where Café Stritch was in the midst of the third annual Rahsaanathon, a mini-festival that parallels but isn’t officially part of Summer Fest, and summons the spirit of the singular horn player, composer, and bandleader Rahsaan Roland Kirk.\u003c/p>\n\u003cfigure id=\"attachment_10885346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-800x534.jpg\" alt=\"Jesus Diaz\" width=\"800\" height=\"534\" class=\"size-medium wp-image-10885346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Diaz \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday was the second of three nights featuring East Bay-raised trombonist Steve Turre, a fixture on the New York scene for some four decades who spent his formative years playing with Kirk on Bay Area stages. Turre has presented Kirk’s music around the world, but Café Stritch has quickly become his Rahsaanian homebase.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating the occasion of Kirk’s 80\u003csup>th\u003c/sup> birthday (1935-1977), Turre’s Eulipion All-Stars feature Oakland-raised New York drummer Darrell Green, bassist Marcus Shelby, pianist Matt Clark, alto and soprano saxophonist Charles McNeal (who is much missed in the Bay Area since relocating to Las Vegas), and protean multi-instrumentalist James Carter (who also plays a quartet show with the same rhythm section at Stritch on Sunday). \u003c/p>\n\u003cp>Kirk wrote memorable themes that embodied his tragic, ecstatic and supremely humane sensibility, like the episodic “Three For the Festival” and sassy “Dorthaan’s Walk,” and the Eulipion All-Stars engaged fully with the music’s unruly, emotionally charged spirit.\u003c/p>\n\u003cfigure id=\"attachment_10885347\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tower-of-Power-800x517.jpg\" alt=\"Tower of Power at San Jose Jazz’s Summer Fest\" width=\"800\" height=\"517\" class=\"size-medium wp-image-10885347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power-400x259.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power at San Jose Jazz’s Summer Fest \u003ccite>(Courtesy of San Jose Jazz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As on the previous Rahsaanathons, the ageless poet Betty Neals was on hand to recite her verse she recorded with Kirk on his album classic 1976 \u003cem>The Return of the 5000 lb Man\u003c/em>, providing the evening with a true benediction (a blessing amplified by Kirk’s widow Dorthaan Kirk, who was also in the house). And powerhouse blues and jazz singer Terrie Odabi infused the Eulipion theme with a regal and earthy air (she headlines her own show at Yoshi’s on Sept. 8). Around midnight Café Stritch’s Steve Borkenhagen presented Carter with Kirk’s reconditioned namesake Stritch, a straight alto with a keening tone, adding another layer to the Kirkian communion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the best festivals leave you exhilarated by music you experienced and frustrated by the acts you missed, Summer Fest and the Rahsaanathon deserve their reputations as being some of the Bay Area’s essential cultural events. For Saturday, bring on the Brazilians with Letieres Leite and Orchestra Rumpilezz!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Review: Friday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands Review: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>With dense crowds, long lines and weather that can turn on even the most well-prepared, why would anyone go to Outside Lands? The answer, of course, is the music, which in its breadth and sometimes \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">overwhelming plenty\u003c/a>, never disappoints us.\u003c/p>\n\u003cp>While our KQED colleagues over at \u003ca href=\"http://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2015/08/08/foodie-guide-to-outside-lands-2015/\" target=\"_blank\" rel=\"noopener\">run-down of this year’s best food offerings\u003c/a>, here’s what resonated with us onstage at Friday’s opening day for this year’s Outside Lands.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday’s recap here\u003c/a>, and \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10885111\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg\" alt=\"D'Angelo. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. D’Angelo\u003c/h3>\n\u003cp>After a 14-year hiatus, the soul visionary and notorious recluse finally emerged from hiding, and damn, did he bring the goods. For those unable to catch his sold-out-in-seconds show at the Fox Theater in Oakland earlier this year, D’Angelo’s set at Outside Lands was a swampy, jubilant salve, backed by a 10-piece band. When we managed to take our focus off the man himself — D’Angelo could clip his fingernails onstage and it’d be mesmerizing — we gawked at bassist supreme Pino Palladino, blazing guitarist Jesse Johnson or the thousands in the crowd grinding, gyrating or just stone-cold making out. Save for “Brown Sugar,” the set pulled entirely from D’Angelo’s new album \u003cem>Black Messiah\u003c/em>, and not a nod at all to 2000’s \u003cem>Voodoo\u003c/em> or its biggest hit, “Untitled (How Does It Feel?),” which the teeming field clearly wanted as an encore. Leave ’em wanting more, the saying goes; D’Angelo could have played for three hours and never lost the crowd. \u003c/p>\n\u003cfigure id=\"attachment_10885104\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg\" alt=\"St. Vincent. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. St. Vincent\u003c/h3>\n\u003cp>Still riding the crest of last year’s excellent \u003cem>St. Vincent\u003c/em>, Annie Clark emerged from the wings in a black jumpsuit that looked as if it’d been rototilled. She then proceeded to rototill the entire Polo Field with jarring rhythms, reaching-for-the-heavens melodies and a backing band that worked alternately like an industrial scythe and a Moroccan snake ritual. As the nation’s collectively dropped jaws can attest, Clark’s angular guitar solos are a dazzling thing in and of themselves; when paired with her excellent band and intricate songwriting, they become eruptive. Year after year, she puts out great records and yet is still reduced to \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3190241/Cara-Delevingne-s-girlfriend-St-Vincent-shows-incredible-physique-plunging-leather-jumpsuit-performs-Outside-Lands-Festival.html\" target=\"_blank\" rel=\"noopener\">garbage headlines like this which ignore her music entirely\u003c/a>; there’s no way anyone who saw her Friday left talking about anything but. \u003c/p>\n\u003cfigure id=\"attachment_10885105\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg\" alt=\"Tig Notaro. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tig Notaro. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Tig Notaro\u003c/h3>\n\u003cp>Bands, bands, bands. At least once during the weekend each year, a trip to the comedy tent is recommended to change up the pace. Tig Notaro, a brilliant master of timing and deprecation, changes the pace wherever she goes. After a stellar opening set by James Adomian (his Louis C.K. impression was eerily precise), and a complete bomb of a set by Andy Kindler from \u003cem>Everybody Loves Raymond\u003c/em>, Notaro made masterpieces of misfortune. After promising that “I don’t typically talk about things that are upsetting to people” — counter to the fact that her most famous performance was about having cancer, being dumped and her mother dying — someone shouted “Liar!” Taking the cue, Notaro continued: “So I want to tell you about a time when I should have been molested, but then I wasn’t.” Everybody laughed, but she wasn’t kidding: she told the story — and it was \u003cem>hilarious\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885092\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg\" alt=\"Amon Tobin. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amon Tobin. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Amon Tobin\u003c/h3>\n\u003cp>There are plenty of works of art throughout the festival grounds (shout out to KQED’s own Kristin Farr, whose designs \u003ca href=\"https://instagram.com/p/6GJAAapASJ/\" target=\"_blank\" rel=\"noopener\">flank the Sutro stage\u003c/a> this year) and with nine new large murals created on-site each year, Outside Lands has amassed an impressive collection. But the biggest piece of art on Friday was Brazilian producer Amon Tobin’s gigantic \u003cem>ISAM 2.0\u003c/em> stage set, a cubist sprawl that’s reminiscent of the \u003ca href=\"http://www.sfgate.com/default/article/A-taste-of-Temko-his-take-on-6-S-F-buildings-3163489.php\" target=\"_blank\" rel=\"noopener\">excrement-deposited-by-a-giant-concrete-dog-with-square-intestines\u003c/a> Vaillancourt Fountain in the Embarcadero. With dizzying landscapes and patterns projected in 3D upon its surface, and with Tobin housed inside performing a cross-pollination of EDM and the suicide nets at Foxconn, the set is legendary in electronic-music circles, but intriguing enough to the casual passerby. When I \u003ca href=\"http://citysound.bohemian.com/2011/10/02/live-review-amon-tobin-isam-at-the-warfield/\" target=\"_blank\" rel=\"noopener\">saw it at the Warfield in 2011\u003c/a>, I surmised that it belongs in a museum. The assessment stands.\u003c/p>\n\u003cfigure id=\"attachment_10885100\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg\" alt=\"Lindsey Stirling. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Stirling. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lindsey Stirling\u003c/h3>\n\u003cp>A chipper, vivacious and semi-confusing \u003cem>Lord of the Dance\u003c/em> for the seapunk generation, Lindsey Stirling kicked and twirled her way into the hearts of the crowd Friday afternoon. Stirling is a YouTube violin sensation who plays a manic sort of Celtic-inspired fiddle, flanked by four backup dancers and various props (e.g., a tombstone bearing the name of Piers Morgan). Though repetitive, her set provided a welcome respite from the hordes of unshaven guitar-slinging mopes with lovelorn choruses and vintage tube amps so plentiful at any music festival. A \u003cem>Riverdance\u003c/em> revival with pink hair, a pirate chest, a pantomime of a sailing ship and a death wish for boorish race-baiting late-night hosts? Sign me up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10885104,10885099,10885094,10885100,10884501,10885103,10885111,10885101,10884504,10884497,10884506,10885105,10885102,10885095,10885098,10885097,10885093,10884512,10885092,10884510,10884502,10885096, 10884492,10884499,10885106\"]\u003c/p>\n\n",
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"excerpt": "A neo-soul genius, a seapunk 'Riverdance' revival, a guitar goddess and more dot our list of Friday's Outside Lands highlights and photos.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With dense crowds, long lines and weather that can turn on even the most well-prepared, why would anyone go to Outside Lands? The answer, of course, is the music, which in its breadth and sometimes \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">overwhelming plenty\u003c/a>, never disappoints us.\u003c/p>\n\u003cp>While our KQED colleagues over at \u003ca href=\"http://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2015/08/08/foodie-guide-to-outside-lands-2015/\" target=\"_blank\" rel=\"noopener\">run-down of this year’s best food offerings\u003c/a>, here’s what resonated with us onstage at Friday’s opening day for this year’s Outside Lands.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery. Read \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday’s recap here\u003c/a>, and \u003ca href=\"https://wp.me/p4oi3Y-JGEr\" target=\"_blank\" rel=\"noopener\">Sunday’s recap here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10885111\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg\" alt=\"D'Angelo. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. D’Angelo\u003c/h3>\n\u003cp>After a 14-year hiatus, the soul visionary and notorious recluse finally emerged from hiding, and damn, did he bring the goods. For those unable to catch his sold-out-in-seconds show at the Fox Theater in Oakland earlier this year, D’Angelo’s set at Outside Lands was a swampy, jubilant salve, backed by a 10-piece band. When we managed to take our focus off the man himself — D’Angelo could clip his fingernails onstage and it’d be mesmerizing — we gawked at bassist supreme Pino Palladino, blazing guitarist Jesse Johnson or the thousands in the crowd grinding, gyrating or just stone-cold making out. Save for “Brown Sugar,” the set pulled entirely from D’Angelo’s new album \u003cem>Black Messiah\u003c/em>, and not a nod at all to 2000’s \u003cem>Voodoo\u003c/em> or its biggest hit, “Untitled (How Does It Feel?),” which the teeming field clearly wanted as an encore. Leave ’em wanting more, the saying goes; D’Angelo could have played for three hours and never lost the crowd. \u003c/p>\n\u003cfigure id=\"attachment_10885104\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg\" alt=\"St. Vincent. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.StVincent-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. St. Vincent\u003c/h3>\n\u003cp>Still riding the crest of last year’s excellent \u003cem>St. Vincent\u003c/em>, Annie Clark emerged from the wings in a black jumpsuit that looked as if it’d been rototilled. She then proceeded to rototill the entire Polo Field with jarring rhythms, reaching-for-the-heavens melodies and a backing band that worked alternately like an industrial scythe and a Moroccan snake ritual. As the nation’s collectively dropped jaws can attest, Clark’s angular guitar solos are a dazzling thing in and of themselves; when paired with her excellent band and intricate songwriting, they become eruptive. Year after year, she puts out great records and yet is still reduced to \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3190241/Cara-Delevingne-s-girlfriend-St-Vincent-shows-incredible-physique-plunging-leather-jumpsuit-performs-Outside-Lands-Festival.html\" target=\"_blank\" rel=\"noopener\">garbage headlines like this which ignore her music entirely\u003c/a>; there’s no way anyone who saw her Friday left talking about anything but. \u003c/p>\n\u003cfigure id=\"attachment_10885105\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg\" alt=\"Tig Notaro. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.TigNotaro-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tig Notaro. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Tig Notaro\u003c/h3>\n\u003cp>Bands, bands, bands. At least once during the weekend each year, a trip to the comedy tent is recommended to change up the pace. Tig Notaro, a brilliant master of timing and deprecation, changes the pace wherever she goes. After a stellar opening set by James Adomian (his Louis C.K. impression was eerily precise), and a complete bomb of a set by Andy Kindler from \u003cem>Everybody Loves Raymond\u003c/em>, Notaro made masterpieces of misfortune. After promising that “I don’t typically talk about things that are upsetting to people” — counter to the fact that her most famous performance was about having cancer, being dumped and her mother dying — someone shouted “Liar!” Taking the cue, Notaro continued: “So I want to tell you about a time when I should have been molested, but then I wasn’t.” Everybody laughed, but she wasn’t kidding: she told the story — and it was \u003cem>hilarious\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885092\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg\" alt=\"Amon Tobin. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.AmonTobin-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amon Tobin. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Amon Tobin\u003c/h3>\n\u003cp>There are plenty of works of art throughout the festival grounds (shout out to KQED’s own Kristin Farr, whose designs \u003ca href=\"https://instagram.com/p/6GJAAapASJ/\" target=\"_blank\" rel=\"noopener\">flank the Sutro stage\u003c/a> this year) and with nine new large murals created on-site each year, Outside Lands has amassed an impressive collection. But the biggest piece of art on Friday was Brazilian producer Amon Tobin’s gigantic \u003cem>ISAM 2.0\u003c/em> stage set, a cubist sprawl that’s reminiscent of the \u003ca href=\"http://www.sfgate.com/default/article/A-taste-of-Temko-his-take-on-6-S-F-buildings-3163489.php\" target=\"_blank\" rel=\"noopener\">excrement-deposited-by-a-giant-concrete-dog-with-square-intestines\u003c/a> Vaillancourt Fountain in the Embarcadero. With dizzying landscapes and patterns projected in 3D upon its surface, and with Tobin housed inside performing a cross-pollination of EDM and the suicide nets at Foxconn, the set is legendary in electronic-music circles, but intriguing enough to the casual passerby. When I \u003ca href=\"http://citysound.bohemian.com/2011/10/02/live-review-amon-tobin-isam-at-the-warfield/\" target=\"_blank\" rel=\"noopener\">saw it at the Warfield in 2011\u003c/a>, I surmised that it belongs in a museum. The assessment stands.\u003c/p>\n\u003cfigure id=\"attachment_10885100\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg\" alt=\"Lindsey Stirling. (Photo: Gabe Meline)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10885100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.LindseyStirling-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Stirling. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lindsey Stirling\u003c/h3>\n\u003cp>A chipper, vivacious and semi-confusing \u003cem>Lord of the Dance\u003c/em> for the seapunk generation, Lindsey Stirling kicked and twirled her way into the hearts of the crowd Friday afternoon. Stirling is a YouTube violin sensation who plays a manic sort of Celtic-inspired fiddle, flanked by four backup dancers and various props (e.g., a tombstone bearing the name of Piers Morgan). Though repetitive, her set provided a welcome respite from the hordes of unshaven guitar-slinging mopes with lovelorn choruses and vintage tube amps so plentiful at any music festival. A \u003cem>Riverdance\u003c/em> revival with pink hair, a pirate chest, a pantomime of a sailing ship and a death wish for boorish race-baiting late-night hosts? Sign me up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live Review: Wilco at the Independent, A Most Decent Exposure",
"headTitle": "Live Review: Wilco at the Independent, A Most Decent Exposure | KQED",
"content": "\u003cp>While rock star Lenny Kravitz \u003ca href=\"http://www.hitfix.com/comedy/lenny-kravitz-hilariously-responds-to-wardrobe-malfunction-on-twitter\" target=\"_blank\" rel=\"noopener\">reminded us this week\u003c/a> of one unfortunate way musicians can expose themselves on stage, Wilco’s intimate performance last night at the Independent captured quite another.\u003c/p>\n\u003cp>It’s perhaps inevitable that a band acclimated to festivals and enormous theaters could feel a bit exposed at the Independent — a venue with a capacity of just over 400, which is probably the same amount of people who’ll be waiting in line to buy beer when the band takes the stage at \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> tonight. But Wilco (and opening act Vetiver, operating as a duo) handled the challenge spectacularly. Instead of bringing their arena-sized riffs and explosive walls of sound to the Independent, the Chicago six-piece opted for a quieter route.\u003c/p>\n\u003cp>Billed as the Notorious Wilco Brothers, a nod to the Byrds, Wilco played an all-acoustic two-hour set that pulled back the curtain on their audacious sound and oft-opaque stage presence. They did more than merely play stripped-down versions of their songs; they invited us into their world.\u003c/p>\n\u003cp>In a room so small that a nearby sneeze competed for ones’ attention, even the tiniest mistake from the stage would have nowhere to hide. While “Bull Black Nova,” a sprawling track from 2009’s \u003cem>Wilco (the Album)\u003c/em>, is typically engulfed in surging feedback and mountains of guitar effects, here Nels Cline’s solos were as spare as they were spastic, each note hanging with delicious clarity. Later, the sugary synthesizers on “I’m Always in Love” were replaced by a slide guitar and melodihorn to less impressive, but equally as daring, effect.\u003c/p>\n\u003cfigure id=\"attachment_10883481\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10883481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg\" alt=\"Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\" width=\"400\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN.jpg 867w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\u003c/figcaption>\u003c/figure>\n\u003cp>The changed format seemed to concern few, least of all frontman Jeff Tweedy, who sweated straight through his tan blazer and wore a grin all night. While these days Wilco often performs separated from their audience by barricades, they seemed glad to play for fans leaning on the Independent’s low stage just inches away — at one point, multi-instrumentalist Pat Sansone leaned back on his stool and almost collided with an audience member.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band’s unadorned, acoustic versions of songs from \u003cem>Star Wars\u003c/em>, the album Wilco surprise-released for free a couple of weeks ago, crackled with energy and confidence. With the addition of a banjo, the hulking glam-rock “More…” shifted its weight into a rollicking countrified gallop, and the blistering punch of “Pickled Ginger” somehow packed even more menace without the rifle crack of Glenn Kotche’s snare and Tweedy’s fuzzy distortion. The album’s closing track “Magnetized,” which leans heavily on a synth line that gurgles like a dishwasher full of fudge, proved to be the most captivating and inventive arrangement of the night, the void left by the massive synth making space to focus on the gentle cadence of Tweedy’s words. “I sleep beneath / a picture that I keep of you next to me / I realize we’re magnetized,” he declared, with all the heart-stopping bluntness of classics like “Via Chicago” and “I am Trying to Break Your Heart” (neither of which the band played last night).\u003c/p>\n\u003cp>Although Wilco interspersed this new material throughout the set, their encore was nothing but classics. In “Misunderstood,” Tweedy replaced the song’s howling, climactic mantra with a tender phrasing, before leading his band through the only unsurprising moment of the night: “California Stars.” “Sometimes the obvious choice is the best choice,” Tweedy quipped. “That’s why I’m supporting Trump 2016.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilco took their name from the radio shorthand for “Will comply,” which Tweedy readily admits is a bit of an ironic statement for a band that for over two decades hasn’t complied with much of anything. Wilco has surprised us at every turn, shifting from a punk-inflected roots-rock band into ’60s-indebted pop; delving into experimental noise on \u003cem>Yankee Hotel Foxtrot\u003c/em> and then back to a more conventional palette on \u003cem>Sky Blue Sky\u003c/em>; and most recently, the stark, sparse \u003cem>Star Wars\u003c/em>. Their show Thursday night at the Independent only confirmed that 20 years in, that name still means something. Wilco gave us what they wanted, and the results were euphoric.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While rock star Lenny Kravitz \u003ca href=\"http://www.hitfix.com/comedy/lenny-kravitz-hilariously-responds-to-wardrobe-malfunction-on-twitter\" target=\"_blank\" rel=\"noopener\">reminded us this week\u003c/a> of one unfortunate way musicians can expose themselves on stage, Wilco’s intimate performance last night at the Independent captured quite another.\u003c/p>\n\u003cp>It’s perhaps inevitable that a band acclimated to festivals and enormous theaters could feel a bit exposed at the Independent — a venue with a capacity of just over 400, which is probably the same amount of people who’ll be waiting in line to buy beer when the band takes the stage at \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> tonight. But Wilco (and opening act Vetiver, operating as a duo) handled the challenge spectacularly. Instead of bringing their arena-sized riffs and explosive walls of sound to the Independent, the Chicago six-piece opted for a quieter route.\u003c/p>\n\u003cp>Billed as the Notorious Wilco Brothers, a nod to the Byrds, Wilco played an all-acoustic two-hour set that pulled back the curtain on their audacious sound and oft-opaque stage presence. They did more than merely play stripped-down versions of their songs; they invited us into their world.\u003c/p>\n\u003cp>In a room so small that a nearby sneeze competed for ones’ attention, even the tiniest mistake from the stage would have nowhere to hide. While “Bull Black Nova,” a sprawling track from 2009’s \u003cem>Wilco (the Album)\u003c/em>, is typically engulfed in surging feedback and mountains of guitar effects, here Nels Cline’s solos were as spare as they were spastic, each note hanging with delicious clarity. Later, the sugary synthesizers on “I’m Always in Love” were replaced by a slide guitar and melodihorn to less impressive, but equally as daring, effect.\u003c/p>\n\u003cfigure id=\"attachment_10883481\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10883481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg\" alt=\"Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\" width=\"400\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/WilcoMAIN.jpg 867w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wilco perform at the Independent, Aug. 6, 2015. (Photo: Max Savage Levenson)\u003c/figcaption>\u003c/figure>\n\u003cp>The changed format seemed to concern few, least of all frontman Jeff Tweedy, who sweated straight through his tan blazer and wore a grin all night. While these days Wilco often performs separated from their audience by barricades, they seemed glad to play for fans leaning on the Independent’s low stage just inches away — at one point, multi-instrumentalist Pat Sansone leaned back on his stool and almost collided with an audience member.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band’s unadorned, acoustic versions of songs from \u003cem>Star Wars\u003c/em>, the album Wilco surprise-released for free a couple of weeks ago, crackled with energy and confidence. With the addition of a banjo, the hulking glam-rock “More…” shifted its weight into a rollicking countrified gallop, and the blistering punch of “Pickled Ginger” somehow packed even more menace without the rifle crack of Glenn Kotche’s snare and Tweedy’s fuzzy distortion. The album’s closing track “Magnetized,” which leans heavily on a synth line that gurgles like a dishwasher full of fudge, proved to be the most captivating and inventive arrangement of the night, the void left by the massive synth making space to focus on the gentle cadence of Tweedy’s words. “I sleep beneath / a picture that I keep of you next to me / I realize we’re magnetized,” he declared, with all the heart-stopping bluntness of classics like “Via Chicago” and “I am Trying to Break Your Heart” (neither of which the band played last night).\u003c/p>\n\u003cp>Although Wilco interspersed this new material throughout the set, their encore was nothing but classics. In “Misunderstood,” Tweedy replaced the song’s howling, climactic mantra with a tender phrasing, before leading his band through the only unsurprising moment of the night: “California Stars.” “Sometimes the obvious choice is the best choice,” Tweedy quipped. “That’s why I’m supporting Trump 2016.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilco took their name from the radio shorthand for “Will comply,” which Tweedy readily admits is a bit of an ironic statement for a band that for over two decades hasn’t complied with much of anything. Wilco has surprised us at every turn, shifting from a punk-inflected roots-rock band into ’60s-indebted pop; delving into experimental noise on \u003cem>Yankee Hotel Foxtrot\u003c/em> and then back to a more conventional palette on \u003cem>Sky Blue Sky\u003c/em>; and most recently, the stark, sparse \u003cem>Star Wars\u003c/em>. Their show Thursday night at the Independent only confirmed that 20 years in, that name still means something. Wilco gave us what they wanted, and the results were euphoric.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218132185″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>'90s nostalgia rules the day. We miss that era of innocence and try to bring it back to life by \u003ca href=\"http://ww2.kqed.org/pop/2015/05/14/why-the-craft-remake-is-bad-news-for-the-future-of-film/\" target=\"_blank\">adapting classic movies\u003c/a> and \u003ca href=\"http://ww2.kqed.org/pop/2013/08/23/5-reasons-why-adapting-reality-bites-is-a-terrible-idea-winona-ryder-ben-stiller/\" target=\"_blank\">TV shows\u003c/a> and forcing beloved musical groups to reunite. One of the groups that gets hounded most is the Spice Girls.\u003c/p>\n\u003cp>They have, on several occasions, heard our call and given us what we wanted, what we really, really wanted. They most recently reunited for the closing ceremony of the 2012 Summer Olympics in London. They also collaborated on a West End musical called \u003cem>Viva Forever\u003c/em>. And then there was their glorious 2007 reunion tour, the first time the girls toured as a five-piece in America (you know, 'cause Geri bailed on them in 1998 without warning #notoveritandneverwillbe).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PArTdhNda7k\u003c/p>\n\u003cp>When the girls made it to California eight years ago, I flew down to LA to see them, not because they weren't playing a show much closer in San Jose, but because the historic moment felt like it deserved some sort of pilgrimage. I'm not even kidding.\u003c/p>\n\u003cp>My love for the Spice Girls has spanned 20 years, at this point. The greatest love of all might be the one you have with yourself (R.I.P. Whitney), but the second greatest love of all, for me, could very well be the one I have for the Spice Girls and everything they represent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What's so great about some cheesy girl group from forever ago? Basically everything, but since you probably want some specifics:\u003c/p>\n\u003cp>The Spice Girls were all about owning who you are and reveling in it. Their fun, catchy pop was full of positive affirmations and sometimes served as a vehicle for escape, at least it was for me, a gay kid growing up in a conservative Greek space that adheres to strict gender roles.\u003c/p>\n\u003cp>The Spice Girls also introduced me and a lot of other young fans to feminism. Granted, a very light, sugar-coated brand of feminism, but still. The main takeaway of \u003cem>Girl Power!\u003c/em> was that girls and women are equal to boys and men. Such a simple, yet revolutionary concept. Maybe some fans didn't completely get that, but many of us did and that's a wonderful thing to learn at a young age. They also honored and celebrated femininity and their sexualities in a time when no one else was really doing that on such a large scale.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17530\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\" alt=\"SPICE-GIRLS-FEMINISM\" width=\"500\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM-400x282.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>So, if you didn't already know, this is why fans get so excited when news of a Spice Girls reunion bubbles up. It isn't just because we like singing along to \"Wannabe\" or showing off the simple choreography we learned from the \"Stop\" music video. It's because these girls and their music helped us develop our ideas of who we are and how we treat each other.\u003c/p>\n\u003cp>Because the 20th anniversary of their first single is coming up, there's been speculation that the girls will do another tour or a one-off show or a single or something. Mel B fanned the flames this week by going on talk shows and saying things like, \"Hopefully, we’ll gather the troops around and we’ll get to do something to celebrate it next year. It's in my plan.\"\u003c/p>\n\u003cp>And earlier this week, some report claimed that the girls were plotting a comeback tour without Victoria Beckham a.k.a. Posh Spice. As we learned after Geri left (#grrr), it just isn't the Spice Girls without all five of them.\u003c/p>\n\u003cp>What do some of the other girls think of all of this noise?\u003c/p>\n\u003cp>It's all news to Melanie Chisholm and Emma Bunton (Sporty and Baby):\u003c/p>\n\u003cp>https://twitter.com/MelanieCmusic/status/629549703173140480\u003c/p>\n\u003cp>https://twitter.com/EmmaBunton/status/629554494603460608\u003c/p>\n\u003cp>Emma went on to say: \"Nothing's happening at the moment.\"\u003c/p>\n\u003cp>Now here's where I get controversial: I don't need a reunion. Yes, I am a super fan, love them an inordinate amount and would most likely see them again, given the opportunity. But they've already reunited for us several times. Even if they do another reunion tour, we'll just ask for another in three years.\u003c/p>\n\u003cp>We're insatiable. But more than that, we just don't know how to accept the end of something. With countless adaptations and reboots and reunions, we've lost our ability to just appreciate what was. We've come to believe that it's not enough for a movie, TV show or band to have made an impact at some point in the past; now we expect them to continue entertaining us, expiration dates be damned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So are the Spice Girls actually reuniting in 2016? Maybe, maybe not. The better question is why we keep insisting that they do.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>'90s nostalgia rules the day. We miss that era of innocence and try to bring it back to life by \u003ca href=\"http://ww2.kqed.org/pop/2015/05/14/why-the-craft-remake-is-bad-news-for-the-future-of-film/\" target=\"_blank\">adapting classic movies\u003c/a> and \u003ca href=\"http://ww2.kqed.org/pop/2013/08/23/5-reasons-why-adapting-reality-bites-is-a-terrible-idea-winona-ryder-ben-stiller/\" target=\"_blank\">TV shows\u003c/a> and forcing beloved musical groups to reunite. One of the groups that gets hounded most is the Spice Girls.\u003c/p>\n\u003cp>They have, on several occasions, heard our call and given us what we wanted, what we really, really wanted. They most recently reunited for the closing ceremony of the 2012 Summer Olympics in London. They also collaborated on a West End musical called \u003cem>Viva Forever\u003c/em>. And then there was their glorious 2007 reunion tour, the first time the girls toured as a five-piece in America (you know, 'cause Geri bailed on them in 1998 without warning #notoveritandneverwillbe).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PArTdhNda7k'\n title='//www.youtube.com/embed/PArTdhNda7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the girls made it to California eight years ago, I flew down to LA to see them, not because they weren't playing a show much closer in San Jose, but because the historic moment felt like it deserved some sort of pilgrimage. I'm not even kidding.\u003c/p>\n\u003cp>My love for the Spice Girls has spanned 20 years, at this point. The greatest love of all might be the one you have with yourself (R.I.P. Whitney), but the second greatest love of all, for me, could very well be the one I have for the Spice Girls and everything they represent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What's so great about some cheesy girl group from forever ago? Basically everything, but since you probably want some specifics:\u003c/p>\n\u003cp>The Spice Girls were all about owning who you are and reveling in it. Their fun, catchy pop was full of positive affirmations and sometimes served as a vehicle for escape, at least it was for me, a gay kid growing up in a conservative Greek space that adheres to strict gender roles.\u003c/p>\n\u003cp>The Spice Girls also introduced me and a lot of other young fans to feminism. Granted, a very light, sugar-coated brand of feminism, but still. The main takeaway of \u003cem>Girl Power!\u003c/em> was that girls and women are equal to boys and men. Such a simple, yet revolutionary concept. Maybe some fans didn't completely get that, but many of us did and that's a wonderful thing to learn at a young age. They also honored and celebrated femininity and their sexualities in a time when no one else was really doing that on such a large scale.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\">\u003cimg class=\"aligncenter size-full wp-image-17530\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg\" alt=\"SPICE-GIRLS-FEMINISM\" width=\"500\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/SPICE-GIRLS-FEMINISM-400x282.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>So, if you didn't already know, this is why fans get so excited when news of a Spice Girls reunion bubbles up. It isn't just because we like singing along to \"Wannabe\" or showing off the simple choreography we learned from the \"Stop\" music video. It's because these girls and their music helped us develop our ideas of who we are and how we treat each other.\u003c/p>\n\u003cp>Because the 20th anniversary of their first single is coming up, there's been speculation that the girls will do another tour or a one-off show or a single or something. Mel B fanned the flames this week by going on talk shows and saying things like, \"Hopefully, we’ll gather the troops around and we’ll get to do something to celebrate it next year. It's in my plan.\"\u003c/p>\n\u003cp>And earlier this week, some report claimed that the girls were plotting a comeback tour without Victoria Beckham a.k.a. Posh Spice. As we learned after Geri left (#grrr), it just isn't the Spice Girls without all five of them.\u003c/p>\n\u003cp>What do some of the other girls think of all of this noise?\u003c/p>\n\u003cp>It's all news to Melanie Chisholm and Emma Bunton (Sporty and Baby):\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Emma went on to say: \"Nothing's happening at the moment.\"\u003c/p>\n\u003cp>Now here's where I get controversial: I don't need a reunion. Yes, I am a super fan, love them an inordinate amount and would most likely see them again, given the opportunity. But they've already reunited for us several times. Even if they do another reunion tour, we'll just ask for another in three years.\u003c/p>\n\u003cp>We're insatiable. But more than that, we just don't know how to accept the end of something. With countless adaptations and reboots and reunions, we've lost our ability to just appreciate what was. We've come to believe that it's not enough for a movie, TV show or band to have made an impact at some point in the past; now we expect them to continue entertaining us, expiration dates be damned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So are the Spice Girls actually reuniting in 2016? Maybe, maybe not. The better question is why we keep insisting that they do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Weekly Picks: San Jose Jazz, SNL's Youngest Comic, and More",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/08/20150807tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Shout-Out:\u003c/strong> Of course, \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">The Do List Live\u003c/a>\u003c/strong> is the hottest ticket in town next week. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">Get your tickets here — it will sell out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shout-Out:\u003c/strong> Of course, \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">The Do List Live\u003c/a>\u003c/strong> is the hottest ticket in town next week. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">Get your tickets here — it will sell out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent Saturday morning, Bay Area Beyoncé fans reveled in the rare opportunity to get down with the man behind some of Queen Bee’s fiercest dance moves.\u003c/p>\n\u003cp>With KQED video cameras rolling, Los Angeles-based professional choreographer James Alsop led participants through two high-energy dance classes, based on the stage choreography he helped create for the song \u003ca class=\"dfromytb\" href=\"https://www.youtube.com/watch?v=-zvbDkVkD0Y\" target=\"_blank\" rel=\"noopener\">“End of Time,”\u003c/a> from the Beyoncé album \u003cem>4\u003c/em>.\u003c/p>\n\u003cp>Alsop got his first big break with Bravo’s short-lived reality television show “Step It Up and Dance.” He went on to dance for Kelly Rowland, Jennifer Lopez, and Janelle Monáe. Then, in 2011, the Charlotte, North Carolina-native was tapped to create the choreography for Beyoncé’s “Run the World” music video. “The rest, as they say, is 300-million-views history,” says Alsop.\u003c/p>\n\u003cp>So why make the trek from Los Angeles to teach a group of mostly amateur dancers in the Bay? “I just \u003cem>love\u003c/em> to dance,” he says. And, as a choreographer, working behind the scenes of stardom, “you don’t really realize the impact your work has on everyday people’s lives, until you come here.”\u003c/p>\n\u003cp>At least one class participant, Mackenzie Conway, a San Francisco State grad with experience dancing in Bay Area musical theater, dreams of someday working as a professional tour dancer. But most people showed up that day to celebrate the artist they love, and her message of women’s empowerment and equality. And, of course, there was the opportunity to bust moves with other members of the BeyHive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The dances, the stomps, all the moves, it’s just really fierce,” says Richmond resident Symone Wilson. “You just let yourself go, no inhibitions, that’s what I love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The special master class was part of the Bay Area dance series \u003ca href=\"http://www.popstarbootycamp.com\" target=\"_blank\" rel=\"noopener\">PopStar Booty Camp\u003c/a>, founded by Marin County’s Carol Johnstone, former talent manager for world famous hip-hop dancers Les Twins. The camp has been bringing pop choreography to local dance fans since 2014, producing six-week programs that culminate in public performances at local music clubs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Saturday morning, Bay Area Beyoncé fans reveled in the rare opportunity to get down with the man behind some of Queen Bee’s fiercest dance moves.\u003c/p>\n\u003cp>With KQED video cameras rolling, Los Angeles-based professional choreographer James Alsop led participants through two high-energy dance classes, based on the stage choreography he helped create for the song \u003ca class=\"dfromytb\" href=\"https://www.youtube.com/watch?v=-zvbDkVkD0Y\" target=\"_blank\" rel=\"noopener\">“End of Time,”\u003c/a> from the Beyoncé album \u003cem>4\u003c/em>.\u003c/p>\n\u003cp>Alsop got his first big break with Bravo’s short-lived reality television show “Step It Up and Dance.” He went on to dance for Kelly Rowland, Jennifer Lopez, and Janelle Monáe. Then, in 2011, the Charlotte, North Carolina-native was tapped to create the choreography for Beyoncé’s “Run the World” music video. “The rest, as they say, is 300-million-views history,” says Alsop.\u003c/p>\n\u003cp>So why make the trek from Los Angeles to teach a group of mostly amateur dancers in the Bay? “I just \u003cem>love\u003c/em> to dance,” he says. And, as a choreographer, working behind the scenes of stardom, “you don’t really realize the impact your work has on everyday people’s lives, until you come here.”\u003c/p>\n\u003cp>At least one class participant, Mackenzie Conway, a San Francisco State grad with experience dancing in Bay Area musical theater, dreams of someday working as a professional tour dancer. But most people showed up that day to celebrate the artist they love, and her message of women’s empowerment and equality. And, of course, there was the opportunity to bust moves with other members of the BeyHive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift and the Smiths: not an obvious pairing, but the more you think about it, the more perfect it seems. Ryan Adams, moody folk rocker and former husband of Mandy Moore, took to Instagram recently to announce that he is recording covers of Swift's latest album \u003cem>1989\u003c/em>, but with a sad/surly Smiths bent. I don't know about you, but I'm feeling \u003cdel>22\u003c/del> really into this idea!\u003c/p>\n\u003cp>Someone else who's digging it: Tay, who reacted to the news with zero chill.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Opera Receives First Performances Outside Europe in 300 Years",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer",
"headTitle": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n",
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"excerpt": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
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"description": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
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"headline": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer",
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"slug": "outside-lands-fighting-championship",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Ed Simon Trio\u003c/h2>\n\u003cdiv class=\"event-desc\">Jazz pianist alights in the Bay.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Joe Henderson Lab, SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1984, at the age of 15, pianist \u003ca href=\"http://www.edwardsimon.com\">Ed Simon\u003c/a> left his home in Punta Cardón, Venezuela and moved by himself to Pennsylvania. The South American nation’s famous public conservatory program, \u003ca href=\"https://elsistemausa.org/el-sistema-in-venezuela.htm\">El Sistema\u003c/a>, hadn’t yet reached his hometown — a small port dominated by the booming petroleum industry — and Simon’s father thought his middle son’s best chance to thrive would come in the United States.\u003c/p>\n\u003cp>His dad was right. Enrolled at the Philadelphia Performing Arts School, a now-defunct private academy, Simon discovered jazz, and eventually connected with Philly masters like bassist \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Fambrough\">Charles Fambrough\u003c/a> and guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Kevin_Eubanks\">Kevin Eubanks\u003c/a>, who encouraged him to move to New York.\u003c/p>\n\u003cp>Leaving Venezuela was just the first in a series of disorienting leaps that have marked Simon’s career. Landing in Manhattan in 1988, he quickly established himself as an essential new voice through touring and recording with altoist \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Watson\">Bobby Watson\u003c/a> and trumpeter \u003ca href=\"http://www.terenceblanchard.com\">Terence Blanchard\u003c/a>. Part of a wave of brilliant Latin-American musicians infusing the New York scene with influences beyond Cuba and Brazil, Simon recorded a series of acclaimed albums documenting his growing ambition as a composer. Years later, looking for a family-friendly environment to raise a family, he and his wife relocated to central Florida, which he used a base for a decade of international touring and teaching.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NXSG-Jf-7WA\u003c/p>\n\u003cp>And then, much like Simon’s father sought out a fertile environment for his son, the Simon clan decided to head to the Bay Area last year — eventually settling in Emeryville, where Simon’s son attends the \u003ca href=\"http://www.oakarts.org\">Oakland School for the Arts\u003c/a>. In many ways, he’s in the process of introducing himself to the Bay Area scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m still finding my way,” says Simon, 46, who opens a three-night run Friday at the SFJAZZ Center’s intimate \u003ca href=\"http://www.sfjazz.org/events/sessions/2015/0807/edward-simon\">Joe Henderson Lab\u003c/a> with his New York trio featuring bassist \u003ca href=\"http://www.joemartinbass.com\">Joe Martin\u003c/a> and drummer \u003ca href=\"http://www.adamcruz.net\">Adam Cruz\u003c/a>. “I run into a lot of people in a similar situation, and they all say it takes about two years before you feel like you’re in a groove. It’s kind of a drastic move at this age, much different than when you’re in your twenties or even thirties.”\u003c/p>\n\u003cp>It’s fair to note that Simon had a head start, as he’s held down the piano chair in the all-star \u003ca href=\"http://www.sfjazz.org/sfjazzcollective\">SFJAZZ Collective\u003c/a> since 2010. Impressed by many of the Bay Area players he’s encountered, Simon has primarily accessed the local scene via the extensive educational resources available to talented and motivated young musicians. As soon as word got out that he was relocating to the Bay Area, Simon got a call from pianist Susan Muscarella, the founder and director of Berkeley’s \u003ca href=\"http://cjc.edu\">California Jazz Conservatory\u003c/a>. Last year, he co-taught a CJC course on Afro-Venezuelan music with \u003ca href=\"http://www.jackelinerago.com\">Jackeline Rago\u003c/a>, the Caracas-born Bay Area cuatro and percussion master, “and hopefully we’ll be offering it again this fall,” he says.\u003c/p>\n\u003cp>This spring, Simon served as artist-in-residence at the \u003ca href=\"http://www.pacific.edu/Brubeck-Home.html\">Brubeck Institute\u003c/a> at the University of the Pacific in Stockton, and he’s been invited back as faculty in the fall. But the most important venue for connecting with Bay Area artists has been \u003ca href=\"http://www.jazzcampwest.com\">Jazz Camp West\u003c/a> in La Honda, the immersive summer camp-like program that’s nurtured a family vibe among master musicians and students for more than three decades.\u003c/p>\n\u003cp>Oakland percussion maestro \u003ca href=\"http://www.johnsantos.com\">John Santos\u003c/a>, a longtime JCW faculty member, had been telling Simon about the camp for several years, “but you can’t really understand what it’s like until you’ve done it,” Simon says. “It’s an incredible experience in terms of bonding and the communal vibe that’s generated. There’s no cell phone reception and no internet, so you’re immersed in this experience learning about jazz.”\u003c/p>\n\u003cp>Simon connected with East Bay players like trumpeter \u003ca href=\"http://www.erikjekabson.com/bio/\">Erik Jekabson\u003c/a> and bassist \u003ca href=\"https://www.facebook.com/scottonthabass/info?tab=page_info\">Scott Thompson\u003c/a>, and bonded particularly with Denver pianist Art Lande. Something of an underground legend, Lande made a point of introducing him to the Bay Area players in his band Shapeshifter: reed expert \u003ca href=\"http://www.paulmccandless.com\">Paul McCandless\u003c/a>, bassist \u003ca href=\"http://www.peterbarshay.com\">Peter Barshay\u003c/a>, and drummer \u003ca href=\"http://www.jazzdrumming.com\">Alan Hall\u003c/a>. “Art said ‘Edward just moved to town, you should do some playing,’” Simon says. “It was so welcoming, completely opening the door for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With his singular vision encompassing jazz and Latin American standards and folkloric traditions, Simon is ideally prepared to contribute to the Bay Area fray.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Ed Simon Trio\u003c/h2>\n\u003cdiv class=\"event-desc\">Jazz pianist alights in the Bay.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Joe Henderson Lab, SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ed-simon-trio/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1984, at the age of 15, pianist \u003ca href=\"http://www.edwardsimon.com\">Ed Simon\u003c/a> left his home in Punta Cardón, Venezuela and moved by himself to Pennsylvania. The South American nation’s famous public conservatory program, \u003ca href=\"https://elsistemausa.org/el-sistema-in-venezuela.htm\">El Sistema\u003c/a>, hadn’t yet reached his hometown — a small port dominated by the booming petroleum industry — and Simon’s father thought his middle son’s best chance to thrive would come in the United States.\u003c/p>\n\u003cp>His dad was right. Enrolled at the Philadelphia Performing Arts School, a now-defunct private academy, Simon discovered jazz, and eventually connected with Philly masters like bassist \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Fambrough\">Charles Fambrough\u003c/a> and guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Kevin_Eubanks\">Kevin Eubanks\u003c/a>, who encouraged him to move to New York.\u003c/p>\n\u003cp>Leaving Venezuela was just the first in a series of disorienting leaps that have marked Simon’s career. Landing in Manhattan in 1988, he quickly established himself as an essential new voice through touring and recording with altoist \u003ca href=\"https://en.wikipedia.org/wiki/Bobby_Watson\">Bobby Watson\u003c/a> and trumpeter \u003ca href=\"http://www.terenceblanchard.com\">Terence Blanchard\u003c/a>. Part of a wave of brilliant Latin-American musicians infusing the New York scene with influences beyond Cuba and Brazil, Simon recorded a series of acclaimed albums documenting his growing ambition as a composer. Years later, looking for a family-friendly environment to raise a family, he and his wife relocated to central Florida, which he used a base for a decade of international touring and teaching.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NXSG-Jf-7WA'\n title='//www.youtube.com/embed/NXSG-Jf-7WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then, much like Simon’s father sought out a fertile environment for his son, the Simon clan decided to head to the Bay Area last year — eventually settling in Emeryville, where Simon’s son attends the \u003ca href=\"http://www.oakarts.org\">Oakland School for the Arts\u003c/a>. In many ways, he’s in the process of introducing himself to the Bay Area scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m still finding my way,” says Simon, 46, who opens a three-night run Friday at the SFJAZZ Center’s intimate \u003ca href=\"http://www.sfjazz.org/events/sessions/2015/0807/edward-simon\">Joe Henderson Lab\u003c/a> with his New York trio featuring bassist \u003ca href=\"http://www.joemartinbass.com\">Joe Martin\u003c/a> and drummer \u003ca href=\"http://www.adamcruz.net\">Adam Cruz\u003c/a>. “I run into a lot of people in a similar situation, and they all say it takes about two years before you feel like you’re in a groove. It’s kind of a drastic move at this age, much different than when you’re in your twenties or even thirties.”\u003c/p>\n\u003cp>It’s fair to note that Simon had a head start, as he’s held down the piano chair in the all-star \u003ca href=\"http://www.sfjazz.org/sfjazzcollective\">SFJAZZ Collective\u003c/a> since 2010. Impressed by many of the Bay Area players he’s encountered, Simon has primarily accessed the local scene via the extensive educational resources available to talented and motivated young musicians. As soon as word got out that he was relocating to the Bay Area, Simon got a call from pianist Susan Muscarella, the founder and director of Berkeley’s \u003ca href=\"http://cjc.edu\">California Jazz Conservatory\u003c/a>. Last year, he co-taught a CJC course on Afro-Venezuelan music with \u003ca href=\"http://www.jackelinerago.com\">Jackeline Rago\u003c/a>, the Caracas-born Bay Area cuatro and percussion master, “and hopefully we’ll be offering it again this fall,” he says.\u003c/p>\n\u003cp>This spring, Simon served as artist-in-residence at the \u003ca href=\"http://www.pacific.edu/Brubeck-Home.html\">Brubeck Institute\u003c/a> at the University of the Pacific in Stockton, and he’s been invited back as faculty in the fall. But the most important venue for connecting with Bay Area artists has been \u003ca href=\"http://www.jazzcampwest.com\">Jazz Camp West\u003c/a> in La Honda, the immersive summer camp-like program that’s nurtured a family vibe among master musicians and students for more than three decades.\u003c/p>\n\u003cp>Oakland percussion maestro \u003ca href=\"http://www.johnsantos.com\">John Santos\u003c/a>, a longtime JCW faculty member, had been telling Simon about the camp for several years, “but you can’t really understand what it’s like until you’ve done it,” Simon says. “It’s an incredible experience in terms of bonding and the communal vibe that’s generated. There’s no cell phone reception and no internet, so you’re immersed in this experience learning about jazz.”\u003c/p>\n\u003cp>Simon connected with East Bay players like trumpeter \u003ca href=\"http://www.erikjekabson.com/bio/\">Erik Jekabson\u003c/a> and bassist \u003ca href=\"https://www.facebook.com/scottonthabass/info?tab=page_info\">Scott Thompson\u003c/a>, and bonded particularly with Denver pianist Art Lande. Something of an underground legend, Lande made a point of introducing him to the Bay Area players in his band Shapeshifter: reed expert \u003ca href=\"http://www.paulmccandless.com\">Paul McCandless\u003c/a>, bassist \u003ca href=\"http://www.peterbarshay.com\">Peter Barshay\u003c/a>, and drummer \u003ca href=\"http://www.jazzdrumming.com\">Alan Hall\u003c/a>. “Art said ‘Edward just moved to town, you should do some playing,’” Simon says. “It was so welcoming, completely opening the door for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With his singular vision encompassing jazz and Latin American standards and folkloric traditions, Simon is ideally prepared to contribute to the Bay Area fray.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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