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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Santa Cruz’s best bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Santa_Cruz_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The Thrills once said, “Santa Cruz, you’re not that far” — a statement far truer for San Franciscans than for a band from Dublin, Ireland — but the truth is the Santa Cruz music scene has always felt a little remote, tethered to the Bay Area by that treacherous Highway 17.\u003c/p>\n\u003cp>That feeling of distance isn’t for a lack of talent, mind you: from \u003ca href=\"https://www.facebook.com/CamperVanBeethoven\">Camper Van Beethoven\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Comets_on_Fire\">Comets on Fire\u003c/a> through \u003ca href=\"https://www.facebook.com/thedevilmakesthreemusic\">The Devil Makes Three\u003c/a>, \u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a>, and \u003ca href=\"https://www.facebook.com/pages/Mammatus/78621323321\">Mammatus\u003c/a>, plenty of great bands have emerged from Santa Cruz over the years. Credit that in large part to a steady stream of creative young people flocking to UC Santa Cruz, performing in venues like \u003ca href=\"http://thecrepeplace.com/\">The Crepe Place\u003c/a> and \u003ca href=\"http://www.catalystclub.com/\">The Catalyst\u003c/a> at shows put on by promoters like \u003ca href=\"http://baneshows.blogspot.com/\">Bane Shows\u003c/a> and \u003ca href=\"http://folkyeah.com\">(((folkYEAH!)))\u003c/a>.\u003c/p>\n\u003cp>In other words, it might be a surprise to hear a wide-ranging set of compelling Santa Cruz acts in this mixtape, but it certainly shouldn’t be. The set collects over a dozen current bands from Santa Cruz, from the hardcore-meets-metal of \u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> to the dusty folk and Americana of \u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong>. Unsurprisingly, garage and surf-rock sounds are represented here, with strong melodies tagging \u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> as a cut above the norm. On the more electronic side of things, bask in the dreamy, shoegaze-inspired textures of \u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong>, and bounce along with the compelling art-pop of \u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The mix covers a lot of ground, but it’s sure to reveal some new bands well worth checking out.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/adultschoolca\">Adult School\u003c/a>\u003c/strong> – “Critter”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong> – “Atlas Shroomed”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong> – “Suzi Forbes”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong> – “Us Now”\u003cbr>\n\u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> – “Never Again”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Modern-Needs/1405048553055965\">Modern Needs\u003c/a>\u003c/strong> – “Mutator”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong> – “Jewels and Gems”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pigeonpit\">Pigeon Pit\u003c/a>\u003c/strong> – “Tall Black Trees”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> – “Dempsey”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/PyromidsMusic\">Pyromids\u003c/a>\u003c/strong> – “TIME is so scary”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> – “Talk It”\u003cbr>\n\u003cstrong>\u003ca href=\"https://tonytricks.bandcamp.com/\">Tony Tricks\u003c/a>\u003c/strong> – “Birds”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong> – “In The Garden”\u003c/p>\n\n",
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"excerpt": "Sample a baker's dozen of new bands from Santa Cruz, where the creative college-town atmosphere has always implored music junkies down that treacherous stretch of Highway 17.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Santa Cruz’s best bands.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Santa_Cruz_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The Thrills once said, “Santa Cruz, you’re not that far” — a statement far truer for San Franciscans than for a band from Dublin, Ireland — but the truth is the Santa Cruz music scene has always felt a little remote, tethered to the Bay Area by that treacherous Highway 17.\u003c/p>\n\u003cp>That feeling of distance isn’t for a lack of talent, mind you: from \u003ca href=\"https://www.facebook.com/CamperVanBeethoven\">Camper Van Beethoven\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Comets_on_Fire\">Comets on Fire\u003c/a> through \u003ca href=\"https://www.facebook.com/thedevilmakesthreemusic\">The Devil Makes Three\u003c/a>, \u003ca href=\"https://www.facebook.com/battlehooch\">Battlehooch\u003c/a>, and \u003ca href=\"https://www.facebook.com/pages/Mammatus/78621323321\">Mammatus\u003c/a>, plenty of great bands have emerged from Santa Cruz over the years. Credit that in large part to a steady stream of creative young people flocking to UC Santa Cruz, performing in venues like \u003ca href=\"http://thecrepeplace.com/\">The Crepe Place\u003c/a> and \u003ca href=\"http://www.catalystclub.com/\">The Catalyst\u003c/a> at shows put on by promoters like \u003ca href=\"http://baneshows.blogspot.com/\">Bane Shows\u003c/a> and \u003ca href=\"http://folkyeah.com\">(((folkYEAH!)))\u003c/a>.\u003c/p>\n\u003cp>In other words, it might be a surprise to hear a wide-ranging set of compelling Santa Cruz acts in this mixtape, but it certainly shouldn’t be. The set collects over a dozen current bands from Santa Cruz, from the hardcore-meets-metal of \u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> to the dusty folk and Americana of \u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong>. Unsurprisingly, garage and surf-rock sounds are represented here, with strong melodies tagging \u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> as a cut above the norm. On the more electronic side of things, bask in the dreamy, shoegaze-inspired textures of \u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong>, and bounce along with the compelling art-pop of \u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>The mix covers a lot of ground, but it’s sure to reveal some new bands well worth checking out.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/adultschoolca\">Adult School\u003c/a>\u003c/strong> – “Critter”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/foreverbabewatch\">Babewatch\u003c/a>\u003c/strong> – “Atlas Shroomed”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/DeadRecipe\">Dead Recipe\u003c/a>\u003c/strong> – “Suzi Forbes”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo\">Them Are Us Too\u003c/a>\u003c/strong> – “Us Now”\u003cbr>\n\u003cstrong>\u003ca href=\"http://leucrotascz.bandcamp.com/releases\">Leucrota\u003c/a>\u003c/strong> – “Never Again”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Modern-Needs/1405048553055965\">Modern Needs\u003c/a>\u003c/strong> – “Mutator”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/WatergateSandals\">Watergate Sandals\u003c/a>\u003c/strong> – “Jewels and Gems”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/pigeonpit\">Pigeon Pit\u003c/a>\u003c/strong> – “Tall Black Trees”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/martyoreillymusic\">Marty O’Reilly\u003c/a>\u003c/strong> – “Dempsey”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/PyromidsMusic\">Pyromids\u003c/a>\u003c/strong> – “TIME is so scary”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jackiezealous\">Jackie Zealous\u003c/a>\u003c/strong> – “Talk It”\u003cbr>\n\u003cstrong>\u003ca href=\"https://tonytricks.bandcamp.com/\">Tony Tricks\u003c/a>\u003c/strong> – “Birds”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedhorseswest\">The Painted Horses\u003c/a>\u003c/strong> – “In The Garden”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't We Leave Amy Winehouse Alone?",
"headTitle": "Why Can’t We Leave Amy Winehouse Alone? | 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>Event Information\u003c/h3>\n\u003ch2>‘Amy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary of the singer’s rise and fall in wide release.\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.amy-movie.com/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>‘Amy Winehouse: A Family Portrait’\u003c/h2>\n\u003cdiv class=\"event-desc\">The singer’s personal effects on display.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Nov. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Contemporary Jewish Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amy Winehouse is having a moment, and it’s an awkward one. The singer, who died in 2011, is both the subject of a documentary, \u003cem>Amy\u003c/em>, in wide release now, and a museum exhibit, \u003cem>Amy Winehouse: A Family Portrait\u003c/em>, which after its initial London run is opening at the Contemporary Jewish Museum this week.\u003c/p>\n\u003cp>Before her death of alcohol poisoning at age 27, Winehouse was many things: a brilliant songwriter, a transformative singer, a fashion icon. But from the moment her breakthrough single “Rehab” was released, Winehouse was also incessant tabloid fodder, a paparazzi paycheck, and — as her issues with drug use became more publicized — a \u003ca href=\"https://www.youtube.com/watch?v=goT0auqNe4w\" target=\"_blank\" rel=\"noopener\">television late-show punchline\u003c/a>. Her decline coincided with an unprecedented rise in social media, and until the end of her life, Amy Winehouse saw her innermost demons on display for all the world to gawk at, from every newspaper box and smartphone screen.\u003c/p>\n\u003cp>I remember very clearly the day Amy Winehouse died, in part because I jotted down a hodgepodge of thoughts throughout the day. \u003ca href=\"http://citysound.bohemian.com/2011/07/24/amy-winehouse-july-23-the-timeline/\" target=\"_blank\" rel=\"noopener\">You can read them here\u003c/a>, but the first is the relevant one:\u003c/p>\n\u003cblockquote>\u003cp>All I can think is that the media killed Amy Winehouse… That concert in Belgrade — even I clicked on the link, and after about ten seconds of the video I couldn’t watch anymore. \u003cem>But I clicked on the link\u003c/em>. Another click means another vote that tells the media AMY WINEHOUSE DISASTER = SITE TRAFFIC VICTORY, and I cast it, and you cast it, and we all cast it… This, I know: When the media places your life in a certain frame, over and over, you cannot grow out of that frame. Here is the narrative since 2008: “Amy Winehouse: Hopeless Addict.” Over and over. How could she be anything but? Jesus, we all killed Amy Winehouse.\u003c/p>\u003c/blockquote>\n\u003cp>This month’s headlines echo the same sentiment: “\u003ca href=\"http://pitchfork.com/thepitch/801-we-all-destroyed-amy-winehouse/\" target=\"_blank\" rel=\"noopener\">We All Destroyed Amy Winehouse\u003c/a>,” “\u003ca href=\"http://inthesetimes.com/article/18179/amy_winehouse_documentary_mental_illness_media\" target=\"_blank\" rel=\"noopener\">How Amy Winehouse’s Pain Was Commodified\u003c/a>,” “\u003ca href=\"http://www.thestranger.com/film/feature/2015/07/08/22508337/who-killed-amy-winehouse\" target=\"_blank\" rel=\"noopener\">Powerful New Documentary Amy Holds Us All Accountable\u003c/a>,” “\u003ca href=\"http://www.salon.com/2015/07/02/did_the_internet_kill_amy_winehouse_the_director_of_a_heartbreaking_new_documentary_on_the_rise_and_fall_of_a_%E2%80%9Cdigital_girl%E2%80%9D/\" target=\"_blank\" rel=\"noopener\">Did the Internet kill Amy Winehouse?\u003c/a>”\u003c/p>\n\u003cp>And so now we, as fans, are put in a predicament with the documentary and this museum exhibit. Both attempt earnestly to present Amy Winehouse the human being, but the effort is achieved by mining things she surely hoped to keep private, from her personal voicemails and handwritten journal entries to her Adam Sandler CDs. How are we all not posthumously complicit in the very thing that killed her? Or can we pretend to be free of guilt now, since she’s not here to be ruined by it?\u003c/p>\n\u003cfigure id=\"attachment_10854331\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg\" alt=\"A young Amy Winehouse plays the guitar in the film 'Amy.' (Photo: A24 Films)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10854331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy Winehouse plays the guitar in the film ‘Amy.’ (Photo: A24 Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Of the two\u003c/strong>, the film \u003cem>Amy\u003c/em> is the more revealing. Told entirely in archival footage — no present-day talking heads appear onscreen, only voices — the film pulls us along from the start, opening with camcorder footage of Winehouse at age 14: singing “Happy Birthday” at a friend’s party, eating lollipops, making cross-eyed faces. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, we see yellow lined paper covered in Winehouse’s bubbly teenage-girl handwriting, little heart doodles and all. And as her rise to fame is documented, the same handwriting shows up again, this time superimposed over paparazzi photos of Winehouse in the park, her whale-tail sticking out of postage-stamp–sized shorts, with new boyfriend Blake Fielder.\u003c/p>\n\u003cp>Fielder comes off as opportunistic scum in the film, as does Winehouse’s father, who barges into a post-overdose retreat on St. Lucia meant to clear Winehouse’s head with his reality-show camera crew and a condemning attitude toward his daughter. But the real villains in the \u003cem>Amy\u003c/em>’s second half are the photographers and their constant, violent hailstorm of camera shutters. Winehouse can go nowhere without the machine-gun firing of flashes in her face, and it’s no surprise that she chooses to stay inside — where, ironically, she takes pictures of herself, her face increasingly sunken-in and marred by the effects of heavy crack cocaine and alcohol use.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqmwcEtU2Js\u003c/p>\n\u003cp>What \u003cem>Amy\u003c/em> does best is remind us that Winehouse’s music was her own. While revisionists will try to pin the success of her breakthrough album \u003cem>Back to Black\u003c/em> on producer Mark Ronson, there are many scenes in \u003cem>Amy\u003c/em> of Winehouse playing guitar, and constructing inventive melodies over complex jazz chords. Because of the beehive-hairdo lead singer she turned into, few ever knew that Winehouse wrote the entirety of the songs on \u003cem>Back to Black\u003c/em>, and the film is a welcome reminder.\u003c/p>\n\u003cp>It’s a reminder that can be had with each listen to her singing — her otherworldly phrasing, her sly lyrics, and, in \u003cem>Amy\u003c/em>, her heartbreak as she repeats the last word of the album’s title track, alone in a studio’s isolation booth: “black… black… black…”\u003c/p>\n\u003cfigure id=\"attachment_10854333\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg\" alt=\"Entrance image to 'Amy Winehouse: A Family Portrait,' on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\" width=\"640\" height=\"646\" class=\"size-full wp-image-10854333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Entrance image to ‘Amy Winehouse: A Family Portrait,’ on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winehouse’s own music\u003c/strong> doesn’t play over the speakers at \u003cem>Amy Winehouse: A Family Portrait\u003c/em>. Instead, visitors hear songs inspired by a playlist titled “Songs on My Chill-Out Tape,” photocopied and framed in bubbly-Winehouse-cursive. It’s a strange feeling to walk into an exhibit dedicated to Amy Winehouse and hear the Offspring’s angsty 1994 hit “\u003ca href=\"https://www.youtube.com/watch?v=Abrn8aVQ76Q\" target=\"_blank\" rel=\"noopener\">Self Esteem\u003c/a>,” just as it’s strange that the exhibit’s first stateside appearance is in San Francisco, a city where Winehouse \u003ca href=\"https://www.youtube.com/watch?v=DMkllifDPK4\" target=\"_blank\" rel=\"noopener\">only performed once\u003c/a>. \u003c/p>\n\u003cp>There’s a separate conversation to be had about museums opening their doors to musical celebrity, be it Björk’s \u003ca href=\"http://www.vulture.com/2015/03/momas-bjork-disaster.html\" target=\"_blank\" rel=\"noopener\">widely lambasted exhibition at New York’s MoMA\u003c/a>, or PJ Harvey’s intriguing \u003ca href=\"http://pitchfork.com/news/58102-pj-harvey-begins-recording-new-album-in-public/\" target=\"_blank\" rel=\"noopener\">\u003cem>Recording in Progress\u003c/em> at Somerset House\u003c/a> in London. But there’s an extra delicacy to the Contemporary Jewish Museum’s exhibition in the fact that Amy Winehouse died just four short years ago. (As if to underscore this discomfort, the exhibit’s opening date, July 23, is the exact anniversary of her death.)\u003c/p>\n\u003cp>In \u003cem>Amy\u003c/em>, the only hint of Winehouse’s Jewish heritage comes during her funeral, where scattered attendees wear yarmulkes. Winehouse was descended from Jewish immigrants from Eastern Europe, but didn’t attend synagogue, which makes this exhibit of personal effects assembled by her siblings Alex and Riva more a use of Jewish ancestry than Jewish faith; thus, we get framed chicken soup recipes, photos from her great-grandparents’ barbershop, and a family tree that traces back to Belarus, Russia and Poland. \u003c/p>\n\u003cfigure id=\"attachment_10854411\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10854411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>This same wall contains Amy’s handwritten application to Sylvia Young Theatre School, in which she declares, “I have this dream to be very famous. To work on stage. It’s a life-long ambition.” Notably, this is in contrast to statements she would make about fame that were included in \u003cem>Amy\u003c/em> (“I don’t think I could handle it,” Winehouse says, pre-\u003cem>Back to Black\u003c/em>. “I’m sure I’d go mad”), but a 1994 class photo hints that Winehouse was ready for anything the world might throw her way. She’s easy to spot, dead center, hunched forward before her schoolmates with a determined look in her young eyes.\u003c/p>\n\u003cp>One wall is dedicated to Winehouse’s music, and obsessives will find themselves craning their necks to read the spines of select LPs and CDs from her collection. (Along with expected titles from Aretha Franklin, Dinah Washington and Mary J. Blige — artists who had a clear influence on her phrasing — there’s a sizable amount of hip-hop: Dead Prez, Ghostface Killah, Talib Kweli, Kid Koala, Common, Jungle Brothers and others.) The music wall also contains Winehouse’s black Regal resonator guitar, which, according to brother Alex, “is probably the worst musical instrument ever made,” yet its presence here is another reminder of Winehouse’s songwriting ability.\u003c/p>\n\u003cp>Two more walls showcase Winehouse’s wardrobe, a mix of thrift-store \u003cem>Swingers\u003c/em> chic and high fashion. Shoes are the thing here, with Fendi, Yves Saint-Laurent, Ferragamo and Louboutin pairs on display, but the most striking item is a Luella Bartley dress worn at Glastonbury in 2008 with an impossibly tiny waist. It instantly recalls Winehouse’s ongoing struggles with bulimia — a disease her mother essentially pooh-poohs in \u003cem>Amy\u003c/em> — and the viewer is compelled to get a sideways view to see just how thin Winehouse forced her own body to become.\u003c/p>\n\u003cp>And there it is, creeping back up again, the icky feeling that we’re mining Winehouse’s personal demons and private life but pretending to ourselves that it’s homage. Two examples from the exhibit come to mind, and one is a vintage white-and-gold 1950s cocktail bar that Winehouse owned. Winehouse drank heavily, ultimately destroying herself with alcohol, but the family’s description painstakingly asserts that “She never actually used the bar for its actual purpose; it was more of a good place to put letters and bills, rather than drinks.”\u003c/p>\n\u003cfigure id=\"attachment_10854412\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg\" alt=\"Installation view from 'Amy Winehouse: A Family Portrait,' Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\" width=\"1100\" height=\"702\" class=\"size-full wp-image-10854412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-960x613.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Amy Winehouse: A Family Portrait,’ Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\u003c/figcaption>\u003c/figure>\n\u003cp>The other is bound to be the running joke of the show: an assortment of refrigerator magnets, “collected by Amy,” the majority of which are the type displayed at a novelty store next to the X-ray goggles and rubber dog poop. You’ve seen these before: the 1950s housewife captioned with “I don’t suffer from insanity — I enjoy every minute of it” or “Ran into my ex… put it in reverse and hit him again.” The only magnets remotely personal to Winehouse are a few from Miami, where she and Fielder were married, or Austin, where she performed at South by Southwest. The others are so laughably banal, as if someone ransacked her apartment after she died and grabbed whatever was left, that one wonders why we’re not also ogling drawers of her twist-ties and bins of her discarded Q-tips.\u003c/p>\n\u003cp>A companion exhibit, \u003cem>You Know I’m No Good\u003c/em>, with work by Jennie Ottinger, Rachel Harrison, and Jason Jagel, adds an artistic reaction to Winehouse’s legacy, and raises valid questions about black appropriation and the predatory act of capturing one’s image. Parents brought here by their teenage children may find more of interest in it than in staring at a rack of Winehouse’s suspenders and belts. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Does any of this voyeurism deepen our appreciation of Winehouse’s artistry? Not especially. \u003cem>You Know I’m No Good\u003c/em> takes its title from one of Winehouse’s most self-examining songs, but as we already know, Any Winehouse \u003cem>was\u003c/em> good. So good, in fact, that even four years after her death, we evidently still can’t leave her alone.\u003c/p>\n\n",
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"excerpt": "Amy Winehouse's private life is at the heart of a new documentary and museum exhibit, and viewers can't help but feel posthumously complicit in the very thing that helped cause her decline.",
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"description": "Amy Winehouse's private life is at the heart of a new documentary and museum exhibit, and viewers can't help but feel posthumously complicit in the very thing that helped cause her decline.",
"title": "Why Can't We Leave Amy Winehouse Alone? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>Event Information\u003c/h3>\n\u003ch2>‘Amy’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary of the singer’s rise and fall in wide release.\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.amy-movie.com/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>‘Amy Winehouse: A Family Portrait’\u003c/h2>\n\u003cdiv class=\"event-desc\">The singer’s personal effects on display.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 23–Nov. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Contemporary Jewish Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amy Winehouse is having a moment, and it’s an awkward one. The singer, who died in 2011, is both the subject of a documentary, \u003cem>Amy\u003c/em>, in wide release now, and a museum exhibit, \u003cem>Amy Winehouse: A Family Portrait\u003c/em>, which after its initial London run is opening at the Contemporary Jewish Museum this week.\u003c/p>\n\u003cp>Before her death of alcohol poisoning at age 27, Winehouse was many things: a brilliant songwriter, a transformative singer, a fashion icon. But from the moment her breakthrough single “Rehab” was released, Winehouse was also incessant tabloid fodder, a paparazzi paycheck, and — as her issues with drug use became more publicized — a \u003ca href=\"https://www.youtube.com/watch?v=goT0auqNe4w\" target=\"_blank\" rel=\"noopener\">television late-show punchline\u003c/a>. Her decline coincided with an unprecedented rise in social media, and until the end of her life, Amy Winehouse saw her innermost demons on display for all the world to gawk at, from every newspaper box and smartphone screen.\u003c/p>\n\u003cp>I remember very clearly the day Amy Winehouse died, in part because I jotted down a hodgepodge of thoughts throughout the day. \u003ca href=\"http://citysound.bohemian.com/2011/07/24/amy-winehouse-july-23-the-timeline/\" target=\"_blank\" rel=\"noopener\">You can read them here\u003c/a>, but the first is the relevant one:\u003c/p>\n\u003cblockquote>\u003cp>All I can think is that the media killed Amy Winehouse… That concert in Belgrade — even I clicked on the link, and after about ten seconds of the video I couldn’t watch anymore. \u003cem>But I clicked on the link\u003c/em>. Another click means another vote that tells the media AMY WINEHOUSE DISASTER = SITE TRAFFIC VICTORY, and I cast it, and you cast it, and we all cast it… This, I know: When the media places your life in a certain frame, over and over, you cannot grow out of that frame. Here is the narrative since 2008: “Amy Winehouse: Hopeless Addict.” Over and over. How could she be anything but? Jesus, we all killed Amy Winehouse.\u003c/p>\u003c/blockquote>\n\u003cp>This month’s headlines echo the same sentiment: “\u003ca href=\"http://pitchfork.com/thepitch/801-we-all-destroyed-amy-winehouse/\" target=\"_blank\" rel=\"noopener\">We All Destroyed Amy Winehouse\u003c/a>,” “\u003ca href=\"http://inthesetimes.com/article/18179/amy_winehouse_documentary_mental_illness_media\" target=\"_blank\" rel=\"noopener\">How Amy Winehouse’s Pain Was Commodified\u003c/a>,” “\u003ca href=\"http://www.thestranger.com/film/feature/2015/07/08/22508337/who-killed-amy-winehouse\" target=\"_blank\" rel=\"noopener\">Powerful New Documentary Amy Holds Us All Accountable\u003c/a>,” “\u003ca href=\"http://www.salon.com/2015/07/02/did_the_internet_kill_amy_winehouse_the_director_of_a_heartbreaking_new_documentary_on_the_rise_and_fall_of_a_%E2%80%9Cdigital_girl%E2%80%9D/\" target=\"_blank\" rel=\"noopener\">Did the Internet kill Amy Winehouse?\u003c/a>”\u003c/p>\n\u003cp>And so now we, as fans, are put in a predicament with the documentary and this museum exhibit. Both attempt earnestly to present Amy Winehouse the human being, but the effort is achieved by mining things she surely hoped to keep private, from her personal voicemails and handwritten journal entries to her Adam Sandler CDs. How are we all not posthumously complicit in the very thing that killed her? Or can we pretend to be free of guilt now, since she’s not here to be ruined by it?\u003c/p>\n\u003cfigure id=\"attachment_10854331\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg\" alt=\"A young Amy Winehouse plays the guitar in the film 'Amy.' (Photo: A24 Films)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10854331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyGuitar-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy Winehouse plays the guitar in the film ‘Amy.’ (Photo: A24 Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Of the two\u003c/strong>, the film \u003cem>Amy\u003c/em> is the more revealing. Told entirely in archival footage — no present-day talking heads appear onscreen, only voices — the film pulls us along from the start, opening with camcorder footage of Winehouse at age 14: singing “Happy Birthday” at a friend’s party, eating lollipops, making cross-eyed faces. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, we see yellow lined paper covered in Winehouse’s bubbly teenage-girl handwriting, little heart doodles and all. And as her rise to fame is documented, the same handwriting shows up again, this time superimposed over paparazzi photos of Winehouse in the park, her whale-tail sticking out of postage-stamp–sized shorts, with new boyfriend Blake Fielder.\u003c/p>\n\u003cp>Fielder comes off as opportunistic scum in the film, as does Winehouse’s father, who barges into a post-overdose retreat on St. Lucia meant to clear Winehouse’s head with his reality-show camera crew and a condemning attitude toward his daughter. But the real villains in the \u003cem>Amy\u003c/em>’s second half are the photographers and their constant, violent hailstorm of camera shutters. Winehouse can go nowhere without the machine-gun firing of flashes in her face, and it’s no surprise that she chooses to stay inside — where, ironically, she takes pictures of herself, her face increasingly sunken-in and marred by the effects of heavy crack cocaine and alcohol use.\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/wqmwcEtU2Js'\n title='//www.youtube.com/embed/wqmwcEtU2Js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What \u003cem>Amy\u003c/em> does best is remind us that Winehouse’s music was her own. While revisionists will try to pin the success of her breakthrough album \u003cem>Back to Black\u003c/em> on producer Mark Ronson, there are many scenes in \u003cem>Amy\u003c/em> of Winehouse playing guitar, and constructing inventive melodies over complex jazz chords. Because of the beehive-hairdo lead singer she turned into, few ever knew that Winehouse wrote the entirety of the songs on \u003cem>Back to Black\u003c/em>, and the film is a welcome reminder.\u003c/p>\n\u003cp>It’s a reminder that can be had with each listen to her singing — her otherworldly phrasing, her sly lyrics, and, in \u003cem>Amy\u003c/em>, her heartbreak as she repeats the last word of the album’s title track, alone in a studio’s isolation booth: “black… black… black…”\u003c/p>\n\u003cfigure id=\"attachment_10854333\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg\" alt=\"Entrance image to 'Amy Winehouse: A Family Portrait,' on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\" width=\"640\" height=\"646\" class=\"size-full wp-image-10854333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyEntrance-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Entrance image to ‘Amy Winehouse: A Family Portrait,’ on view July 23–Nov. 1, 2015, at the Contemporary Jewish Museum, San Francisco. (Photo: Mark Okoh/Camera Press London)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winehouse’s own music\u003c/strong> doesn’t play over the speakers at \u003cem>Amy Winehouse: A Family Portrait\u003c/em>. Instead, visitors hear songs inspired by a playlist titled “Songs on My Chill-Out Tape,” photocopied and framed in bubbly-Winehouse-cursive. It’s a strange feeling to walk into an exhibit dedicated to Amy Winehouse and hear the Offspring’s angsty 1994 hit “\u003ca href=\"https://www.youtube.com/watch?v=Abrn8aVQ76Q\" target=\"_blank\" rel=\"noopener\">Self Esteem\u003c/a>,” just as it’s strange that the exhibit’s first stateside appearance is in San Francisco, a city where Winehouse \u003ca href=\"https://www.youtube.com/watch?v=DMkllifDPK4\" target=\"_blank\" rel=\"noopener\">only performed once\u003c/a>. \u003c/p>\n\u003cp>There’s a separate conversation to be had about museums opening their doors to musical celebrity, be it Björk’s \u003ca href=\"http://www.vulture.com/2015/03/momas-bjork-disaster.html\" target=\"_blank\" rel=\"noopener\">widely lambasted exhibition at New York’s MoMA\u003c/a>, or PJ Harvey’s intriguing \u003ca href=\"http://pitchfork.com/news/58102-pj-harvey-begins-recording-new-album-in-public/\" target=\"_blank\" rel=\"noopener\">\u003cem>Recording in Progress\u003c/em> at Somerset House\u003c/a> in London. But there’s an extra delicacy to the Contemporary Jewish Museum’s exhibition in the fact that Amy Winehouse died just four short years ago. (As if to underscore this discomfort, the exhibit’s opening date, July 23, is the exact anniversary of her death.)\u003c/p>\n\u003cp>In \u003cem>Amy\u003c/em>, the only hint of Winehouse’s Jewish heritage comes during her funeral, where scattered attendees wear yarmulkes. Winehouse was descended from Jewish immigrants from Eastern Europe, but didn’t attend synagogue, which makes this exhibit of personal effects assembled by her siblings Alex and Riva more a use of Jewish ancestry than Jewish faith; thus, we get framed chicken soup recipes, photos from her great-grandparents’ barbershop, and a family tree that traces back to Belarus, Russia and Poland. \u003c/p>\n\u003cfigure id=\"attachment_10854411\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg\" alt=\"A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10854411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmySouthgate-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">A young Amy outside her Grandma’s flat in Southgate. (Photo: The Winehouse family/ Contemporary Jewish Museum, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>This same wall contains Amy’s handwritten application to Sylvia Young Theatre School, in which she declares, “I have this dream to be very famous. To work on stage. It’s a life-long ambition.” Notably, this is in contrast to statements she would make about fame that were included in \u003cem>Amy\u003c/em> (“I don’t think I could handle it,” Winehouse says, pre-\u003cem>Back to Black\u003c/em>. “I’m sure I’d go mad”), but a 1994 class photo hints that Winehouse was ready for anything the world might throw her way. She’s easy to spot, dead center, hunched forward before her schoolmates with a determined look in her young eyes.\u003c/p>\n\u003cp>One wall is dedicated to Winehouse’s music, and obsessives will find themselves craning their necks to read the spines of select LPs and CDs from her collection. (Along with expected titles from Aretha Franklin, Dinah Washington and Mary J. Blige — artists who had a clear influence on her phrasing — there’s a sizable amount of hip-hop: Dead Prez, Ghostface Killah, Talib Kweli, Kid Koala, Common, Jungle Brothers and others.) The music wall also contains Winehouse’s black Regal resonator guitar, which, according to brother Alex, “is probably the worst musical instrument ever made,” yet its presence here is another reminder of Winehouse’s songwriting ability.\u003c/p>\n\u003cp>Two more walls showcase Winehouse’s wardrobe, a mix of thrift-store \u003cem>Swingers\u003c/em> chic and high fashion. Shoes are the thing here, with Fendi, Yves Saint-Laurent, Ferragamo and Louboutin pairs on display, but the most striking item is a Luella Bartley dress worn at Glastonbury in 2008 with an impossibly tiny waist. It instantly recalls Winehouse’s ongoing struggles with bulimia — a disease her mother essentially pooh-poohs in \u003cem>Amy\u003c/em> — and the viewer is compelled to get a sideways view to see just how thin Winehouse forced her own body to become.\u003c/p>\n\u003cp>And there it is, creeping back up again, the icky feeling that we’re mining Winehouse’s personal demons and private life but pretending to ourselves that it’s homage. Two examples from the exhibit come to mind, and one is a vintage white-and-gold 1950s cocktail bar that Winehouse owned. Winehouse drank heavily, ultimately destroying herself with alcohol, but the family’s description painstakingly asserts that “She never actually used the bar for its actual purpose; it was more of a good place to put letters and bills, rather than drinks.”\u003c/p>\n\u003cfigure id=\"attachment_10854412\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg\" alt=\"Installation view from 'Amy Winehouse: A Family Portrait,' Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\" width=\"1100\" height=\"702\" class=\"size-full wp-image-10854412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/AmyCenterDresses-960x613.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Amy Winehouse: A Family Portrait,’ Jewish Museum London, July 3–September 15, 2013. (Photo: Ian Lillicrapp)\u003c/figcaption>\u003c/figure>\n\u003cp>The other is bound to be the running joke of the show: an assortment of refrigerator magnets, “collected by Amy,” the majority of which are the type displayed at a novelty store next to the X-ray goggles and rubber dog poop. You’ve seen these before: the 1950s housewife captioned with “I don’t suffer from insanity — I enjoy every minute of it” or “Ran into my ex… put it in reverse and hit him again.” The only magnets remotely personal to Winehouse are a few from Miami, where she and Fielder were married, or Austin, where she performed at South by Southwest. The others are so laughably banal, as if someone ransacked her apartment after she died and grabbed whatever was left, that one wonders why we’re not also ogling drawers of her twist-ties and bins of her discarded Q-tips.\u003c/p>\n\u003cp>A companion exhibit, \u003cem>You Know I’m No Good\u003c/em>, with work by Jennie Ottinger, Rachel Harrison, and Jason Jagel, adds an artistic reaction to Winehouse’s legacy, and raises valid questions about black appropriation and the predatory act of capturing one’s image. Parents brought here by their teenage children may find more of interest in it than in staring at a rack of Winehouse’s suspenders and belts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Does any of this voyeurism deepen our appreciation of Winehouse’s artistry? Not especially. \u003cem>You Know I’m No Good\u003c/em> takes its title from one of Winehouse’s most self-examining songs, but as we already know, Any Winehouse \u003cem>was\u003c/em> good. So good, in fact, that even four years after her death, we evidently still can’t leave her alone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Another day, another feud. I have \u003ca href=\"http://ww2.kqed.org/pop/2013/08/14/katy-perry-vs-lady-gaga-what-todays-stan-wars-say-about-our-culture/\" target=\"_blank\">written about stan wars\u003c/a> in the past and how our culture is obsessed with pitting women against each other. It's a bummer when the cycle continues. But this episode is unlike the others because its genesis is in the very idea of putting an end to pitting women against women! Confused? Allow me to break it down for you.\u003c/p>\n\u003cp>The VMA nominations were announced this week. \u003cem>Who cares?\u003c/em> you might be thinking. \u003cem>MTV doesn't even play music videos anymore.\u003c/em> Both valid points, but the awards still mean something to the artists. This became clear when Nicki Minaj took to Twitter to voice her confusion over \"Anaconda\" not being nominated for Video of the Year, despite breaking YouTube records and causing an international stir.\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623571674076614656\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623572863577034752\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623574103757209600\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nicki was trying to draw attention to race still being a factor when it comes to the level of respect an artist receives. And she has a point (remember this year's \u003ca href=\"http://ww2.kqed.org/pop/2015-oscars-nominations-snubs-and-surprises-making-internet-angry-selma-jennifer-aniston\" target=\"_blank\">super white Oscars\u003c/a>?).\u003c/p>\n\u003cp>So what does this have to do with Taylor Swift? Not much, really. Yes, Nicki is surely referencing Taylor in that last tweet (Swift is the only female other than Nicki's BFF Beyonce in that category), but her overall message has little to do with Swift and everything to do with an industry that consistently values one type of artist over another.\u003c/p>\n\u003cp>Taylor didn't see it that way:\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/623616796277506048\u003c/p>\n\u003cp>Nicki responded with an um, what?\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623618047673106433\u003c/p>\n\u003cp>Before getting back to her point:\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/623617003153035264\u003c/p>\n\u003cp>And Taylor did her best to backtrack and came off as patronizing:\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/623628086614036480\u003c/p>\n\u003cp>I love you, Taylor, but you done goofed. And most of the media agrees. \u003cem>The Guardian\u003c/em> called Swift's reply \"faux-feminist and tone deaf.\" \u003cem>The Atlantic\u003c/em> further questioned Taylor's approach: \"When female solidarity shuts down someone’s honest expression of frustration at society, inequality, and racial and body-type bias, that’s hardly progressive.\" And Gawker had some strong words for Taylor's brand of feminism: \"Swift isn’t here to help women—she’s here to make bank...Her plan—to be as famous and as rich as she can possibly be—is working, and by using other women as tools of her self-promotion, she is distilling feminism for her own benefit.\"\u003c/p>\n\u003cp>This \u003ca href=\"http://ww2.kqed.org/pop/2013/03/05/the-debate-of-our-times-taylor-swift/\" target=\"_blank\">isn't the first time\u003c/a> Taylor has misused feminism to strike back. Let's rewind back to 2013 when Tina Fey and Amy Poehler made some joke while hosting the Golden Globes about Taylor taking some \"me time\" instead of dating so much, which caused Taylor to respond with:\u003c/p>\n\u003cblockquote>\u003cp>“You know, Katie Couric is one of my favorite people, because she said to me she had heard a quote that she loved, that said, ‘There’s a special place in hell for women who don’t help other women.'”\u003c/p>\u003c/blockquote>\n\u003cp>Oy vey. And this from someone who in 2012 said this about whether she defined herself as a feminist:\u003c/p>\n\u003cblockquote>\u003cp>“I don’t really think about things as guys versus girls. I never have. I was raised by parents who brought me up to think if you work as hard as guys, you can go far in life.”\u003c/p>\u003c/blockquote>\n\u003cp>It's great that Taylor has done some reading and thinking and realized that she was a feminist after all and should do her best, as we all should, to promote the equality of the sexes. But it's important to not get so focused on one issue that you begin missing the forest for the trees.\u003c/p>\n\u003cp>Taylor meant well in her response to Nicki; she thought she was bringing attention to the latent sexism that's been programmed into us by our patriarchal society. But she failed to notice the racial component of Nicki's message because that's not something that Taylor knows a lot about. She doesn't know what it's like to have her skin color dictate who will meet with her, sign her to a label, play her records, give her awards, etc. It's just not on her radar. Just like feminism wasn't on her radar back when she insisted that she wasn't someone who thought of \"things as guys versus girls.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The good news is that these are the kind of situations that help us grow. Taylor missed the point because of her white privilege. She knows that now and will hopefully mature and learn more about race and a host of other things that aren't part of her lived experience. Just like we all do. The only difference is we get to do it without the entire world watching.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another day, another feud. I have \u003ca href=\"http://ww2.kqed.org/pop/2013/08/14/katy-perry-vs-lady-gaga-what-todays-stan-wars-say-about-our-culture/\" target=\"_blank\">written about stan wars\u003c/a> in the past and how our culture is obsessed with pitting women against each other. It's a bummer when the cycle continues. But this episode is unlike the others because its genesis is in the very idea of putting an end to pitting women against women! Confused? Allow me to break it down for you.\u003c/p>\n\u003cp>The VMA nominations were announced this week. \u003cem>Who cares?\u003c/em> you might be thinking. \u003cem>MTV doesn't even play music videos anymore.\u003c/em> Both valid points, but the awards still mean something to the artists. This became clear when Nicki Minaj took to Twitter to voice her confusion over \"Anaconda\" not being nominated for Video of the Year, despite breaking YouTube records and causing an international stir.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicki was trying to draw attention to race still being a factor when it comes to the level of respect an artist receives. And she has a point (remember this year's \u003ca href=\"http://ww2.kqed.org/pop/2015-oscars-nominations-snubs-and-surprises-making-internet-angry-selma-jennifer-aniston\" target=\"_blank\">super white Oscars\u003c/a>?).\u003c/p>\n\u003cp>So what does this have to do with Taylor Swift? Not much, really. Yes, Nicki is surely referencing Taylor in that last tweet (Swift is the only female other than Nicki's BFF Beyonce in that category), but her overall message has little to do with Swift and everything to do with an industry that consistently values one type of artist over another.\u003c/p>\n\u003cp>Taylor didn't see it that way:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I love you, Taylor, but you done goofed. And most of the media agrees. \u003cem>The Guardian\u003c/em> called Swift's reply \"faux-feminist and tone deaf.\" \u003cem>The Atlantic\u003c/em> further questioned Taylor's approach: \"When female solidarity shuts down someone’s honest expression of frustration at society, inequality, and racial and body-type bias, that’s hardly progressive.\" And Gawker had some strong words for Taylor's brand of feminism: \"Swift isn’t here to help women—she’s here to make bank...Her plan—to be as famous and as rich as she can possibly be—is working, and by using other women as tools of her self-promotion, she is distilling feminism for her own benefit.\"\u003c/p>\n\u003cp>This \u003ca href=\"http://ww2.kqed.org/pop/2013/03/05/the-debate-of-our-times-taylor-swift/\" target=\"_blank\">isn't the first time\u003c/a> Taylor has misused feminism to strike back. Let's rewind back to 2013 when Tina Fey and Amy Poehler made some joke while hosting the Golden Globes about Taylor taking some \"me time\" instead of dating so much, which caused Taylor to respond with:\u003c/p>\n\u003cblockquote>\u003cp>“You know, Katie Couric is one of my favorite people, because she said to me she had heard a quote that she loved, that said, ‘There’s a special place in hell for women who don’t help other women.'”\u003c/p>\u003c/blockquote>\n\u003cp>Oy vey. And this from someone who in 2012 said this about whether she defined herself as a feminist:\u003c/p>\n\u003cblockquote>\u003cp>“I don’t really think about things as guys versus girls. I never have. I was raised by parents who brought me up to think if you work as hard as guys, you can go far in life.”\u003c/p>\u003c/blockquote>\n\u003cp>It's great that Taylor has done some reading and thinking and realized that she was a feminist after all and should do her best, as we all should, to promote the equality of the sexes. But it's important to not get so focused on one issue that you begin missing the forest for the trees.\u003c/p>\n\u003cp>Taylor meant well in her response to Nicki; she thought she was bringing attention to the latent sexism that's been programmed into us by our patriarchal society. But she failed to notice the racial component of Nicki's message because that's not something that Taylor knows a lot about. She doesn't know what it's like to have her skin color dictate who will meet with her, sign her to a label, play her records, give her awards, etc. It's just not on her radar. Just like feminism wasn't on her radar back when she insisted that she wasn't someone who thought of \"things as guys versus girls.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The good news is that these are the kind of situations that help us grow. Taylor missed the point because of her white privilege. She knows that now and will hopefully mature and learn more about race and a host of other things that aren't part of her lived experience. Just like we all do. The only difference is we get to do it without the entire world watching.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there's something purely positive to say about the social unrest of the past year, as the deaths of unarmed black men (\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/21/424909760/death-of-woman-found-hanged-in-texas-jail-cell-will-be-investigated-as-murder\" target=\"_blank\">and women\u003c/a>) at the hands of police have spurred communities into action as part of the #BlackLivesMatter movement , it's that the bona fide protest song -- a form that hadn't appeared in mainstream pop music for a couple of decades at least -- has roared back to life.\u003c/p>\n\u003cp>D'Angelo, \u003ca href=\"https://www.youtube.com/watch?v=rMxNYQ71LOk\" target=\"_blank\">Kendrick Lamar\u003c/a>, Lauryn Hill, Pussy Riot, and others all released songs rife with the anger and heartache and hope that sprung forth from the killings of Trayvon Martin, Michael Brown, Eric Garner, and Freddie Gray.\u003c/p>\n\u003cp>And while being the patron saint of all things purple and funky takes up most of his time, it isn't surprising that Prince has had a thing or two to say, as well. He held rallies for peace in Baltimore following Gray's death, released a single with \u003ca href=\"https://www.facebook.com/erynallenkane\" target=\"_blank\">Eryn Allen Kane\u003c/a> titled \"Baltimore,\" and now, in the new video for that track, calls pointedly for justice with images from the city's protests and facts about the killings. The video ends on a hopeful quote from the Purple one himself: \"The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life.\"\u003c/p>\n\u003cp>Check it out below.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cieZB0Ab7xk?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there's something purely positive to say about the social unrest of the past year, as the deaths of unarmed black men (\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/21/424909760/death-of-woman-found-hanged-in-texas-jail-cell-will-be-investigated-as-murder\" target=\"_blank\">and women\u003c/a>) at the hands of police have spurred communities into action as part of the #BlackLivesMatter movement , it's that the bona fide protest song -- a form that hadn't appeared in mainstream pop music for a couple of decades at least -- has roared back to life.\u003c/p>\n\u003cp>D'Angelo, \u003ca href=\"https://www.youtube.com/watch?v=rMxNYQ71LOk\" target=\"_blank\">Kendrick Lamar\u003c/a>, Lauryn Hill, Pussy Riot, and others all released songs rife with the anger and heartache and hope that sprung forth from the killings of Trayvon Martin, Michael Brown, Eric Garner, and Freddie Gray.\u003c/p>\n\u003cp>And while being the patron saint of all things purple and funky takes up most of his time, it isn't surprising that Prince has had a thing or two to say, as well. He held rallies for peace in Baltimore following Gray's death, released a single with \u003ca href=\"https://www.facebook.com/erynallenkane\" target=\"_blank\">Eryn Allen Kane\u003c/a> titled \"Baltimore,\" and now, in the new video for that track, calls pointedly for justice with images from the city's protests and facts about the killings. The video ends on a hopeful quote from the Purple one himself: \"The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life.\"\u003c/p>\n\u003cp>Check it out below.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cieZB0Ab7xk?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids",
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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/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
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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/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Kevin Spacey Shows Off His Pipes at the Green Music Center",
"headTitle": "Live Review: Kevin Spacey Shows Off His Pipes at the Green Music Center | KQED",
"content": "\u003cp>“For those of you who only know me as an actor,” Kevin Spacey said, a few songs into his set, “you might be asking yourself, ‘What the hell is going on?'”\u003c/p>\n\u003cp>Essentially, what the hell was going on was a fantasy realized for the 55-year-old award-winning actor: the opportunity to sing from the Great American Songbook, backed by a big band and strings, in a world-class concert hall. For many in the crowd, too, it was a fantasy come true to be so close to Spacey, especially at times when the \u003cem>House of Cards\u003c/em> star sauntered down the aisles to sing to and high-five his adoring fans.\u003c/p>\n\u003cp>Was it any more than fantasy, though? Well, yes and no.\u003c/p>\n\u003cp>Spacey can sing — there’s no doubt about that. In a nearly two-hour set spanning songs made popular by Frank Sinatra, Dean Martin, and others, only one flat note stuck out. Moreover, like a true thespian, Spacey sells these songs impeccably: either cradling the microphone stand with outstretched arms on ballads, or falling to his knees and punching the air on uptempo numbers. At the end of Dean Martin’s hit “You’re Nobody ’til Somebody Loves You,” he arched impossibly backward, held the microphone high for a long, sustained final note, lashed at the orchestra for a final downbeat and dropped the mic dramatically.\u003c/p>\n\u003cfigure id=\"attachment_10849994\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SpaceyInline.jpg\" alt=\"Kevin Spacey sings at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10849994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SpaceyInline.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SpaceyInline-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Spacey sings at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But while Spacey’s fame allows him the luxury of hiring a full orchestra — a dream for plenty of more-talented vocalists, to be sure — the emotional resonance that these standards provide a space for simply wasn’t there. Spacey loves this material and his enthusiasm for it is contagious. But he’s still an actor portraying a singer, and he seems to know it: “The fact that some of you paid hundreds of dollars for a less-professional version of what you can get for less than three dollars on iTunes warms my heart,” he confessed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of Spacey’s hallmarks as an actor is a sinister core beneath his warm, boyish veneer, but even that nuance was absent from his performance. (Those looking for undertones might be directed to Spacey’s numerous lapses into over-the-top “snippy diva” lisp in his between-song patter.) No, this was Spacey off-camera, having a barrel of fun, with celebrity impersonations (Christopher Walken, Morgan Freeman, Al Pacino, Bill Clinton), stories about pranking Billy Joel, quips about people having sex on the lawn, and a well-timed reference to Donald Trump as the devil.\u003c/p>\n\u003cp>And yet the show remained more about the music than the man. With a big-band backing led by Sinatra’s longtime drummer Gregg Field, the songs shone with their original treatments: “Fly Me to the Moon” followed precisely the Quincy Jones arrangement from the Sinatra/Basie album \u003cem>It Might as Well Be Swing\u003c/em>, and “I’ve Got the World on a String” was a to-the-letter rendition of Nelson Riddle’s famous arrangement. \u003c/p>\n\u003cp>In the looser, more spontaneous-feeling second set, Spacey brought out jazz vocalist Patti Austin, who sang a solo turn on “How High the Moon” that showed up Spacey’s skills in nearly every way. Austin also introduced a trio of teenage backup singers from Oakland, who gave rise to the concert’s grand finale: a gospel-infused rendition of Simon & Garfunkel’s “Bridge Over Troubled Water.”\u003c/p>\n\u003cfigure id=\"attachment_10849996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KevinSpaceyEND.jpg\" alt=\"Kevin Spacey sings with Patti Austin and backup vocalists at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10849996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KevinSpaceyEND.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KevinSpaceyEND-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Spacey sings with Patti Austin and backup vocalists at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>And though these are not entirely new waters for Spacey — in 2004, he \u003ca href=\"http://www.sfgate.com/music/article/Kevin-Spacey-takes-love-of-Bobby-Darin-to-a-whole-2666893.php\" target=\"_blank\" rel=\"noopener\">sold out Bimbo’s in San Francisco\u003c/a> on a short promotional tour for his Bobby Darin biopic \u003cem>Beyond the Sea\u003c/em> — it did feel like the start of a new era in his career, especially as he steps down as artistic director from the \u003ca href=\"http://www.oldvictheatre.com/\" target=\"_blank\" rel=\"noopener\">Old Vic\u003c/a> theater company in London this year.\u003c/p>\n\u003cp>“It’s my intention over the next 10 years to do more stuff like this,” Spacey declared, to adoring applause. “I don’t do this for a living… but I’d like to.”\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003cstrong>Set List:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Can I Steal a Little Love\u003cbr>\nYou’re Nobody ‘Til Somebody Loves You\u003cbr>\nAll the Way\u003cbr>\nThat’s Life\u003cbr>\nMr. Bojangles\u003cbr>\nFly Me to the Moon\u003cbr>\nHello, Young Lovers\u003cbr>\nThat’s All\u003cbr>\nHi-De-Ho\u003cbr>\n–\u003cbr>\nI’ve Got the World on a String\u003cbr>\nPiano Man\u003cbr>\nHow High the Moon (Patti Austin)\u003cbr>\nDon’t Worry ‘Bout Me\u003cbr>\nMy Funny Valentine\u003cbr>\nNew York State of Mind\u003cbr>\nWithout a Song\u003cbr>\nThe Curtain Falls\u003cbr>\n–\u003cbr>\nBridge Over Troubled Water (with Patti Austin)\u003c/p>\n\n",
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"excerpt": "Spacey can sing -- there's no doubt about that. But in a nearly two-hour set, he showed that he's still an actor portraying a singer.",
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"title": "Live Review: Kevin Spacey Shows Off His Pipes at the Green Music Center | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“For those of you who only know me as an actor,” Kevin Spacey said, a few songs into his set, “you might be asking yourself, ‘What the hell is going on?'”\u003c/p>\n\u003cp>Essentially, what the hell was going on was a fantasy realized for the 55-year-old award-winning actor: the opportunity to sing from the Great American Songbook, backed by a big band and strings, in a world-class concert hall. For many in the crowd, too, it was a fantasy come true to be so close to Spacey, especially at times when the \u003cem>House of Cards\u003c/em> star sauntered down the aisles to sing to and high-five his adoring fans.\u003c/p>\n\u003cp>Was it any more than fantasy, though? Well, yes and no.\u003c/p>\n\u003cp>Spacey can sing — there’s no doubt about that. In a nearly two-hour set spanning songs made popular by Frank Sinatra, Dean Martin, and others, only one flat note stuck out. Moreover, like a true thespian, Spacey sells these songs impeccably: either cradling the microphone stand with outstretched arms on ballads, or falling to his knees and punching the air on uptempo numbers. At the end of Dean Martin’s hit “You’re Nobody ’til Somebody Loves You,” he arched impossibly backward, held the microphone high for a long, sustained final note, lashed at the orchestra for a final downbeat and dropped the mic dramatically.\u003c/p>\n\u003cfigure id=\"attachment_10849994\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SpaceyInline.jpg\" alt=\"Kevin Spacey sings at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10849994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SpaceyInline.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SpaceyInline-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Spacey sings at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But while Spacey’s fame allows him the luxury of hiring a full orchestra — a dream for plenty of more-talented vocalists, to be sure — the emotional resonance that these standards provide a space for simply wasn’t there. Spacey loves this material and his enthusiasm for it is contagious. But he’s still an actor portraying a singer, and he seems to know it: “The fact that some of you paid hundreds of dollars for a less-professional version of what you can get for less than three dollars on iTunes warms my heart,” he confessed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of Spacey’s hallmarks as an actor is a sinister core beneath his warm, boyish veneer, but even that nuance was absent from his performance. (Those looking for undertones might be directed to Spacey’s numerous lapses into over-the-top “snippy diva” lisp in his between-song patter.) No, this was Spacey off-camera, having a barrel of fun, with celebrity impersonations (Christopher Walken, Morgan Freeman, Al Pacino, Bill Clinton), stories about pranking Billy Joel, quips about people having sex on the lawn, and a well-timed reference to Donald Trump as the devil.\u003c/p>\n\u003cp>And yet the show remained more about the music than the man. With a big-band backing led by Sinatra’s longtime drummer Gregg Field, the songs shone with their original treatments: “Fly Me to the Moon” followed precisely the Quincy Jones arrangement from the Sinatra/Basie album \u003cem>It Might as Well Be Swing\u003c/em>, and “I’ve Got the World on a String” was a to-the-letter rendition of Nelson Riddle’s famous arrangement. \u003c/p>\n\u003cp>In the looser, more spontaneous-feeling second set, Spacey brought out jazz vocalist Patti Austin, who sang a solo turn on “How High the Moon” that showed up Spacey’s skills in nearly every way. Austin also introduced a trio of teenage backup singers from Oakland, who gave rise to the concert’s grand finale: a gospel-infused rendition of Simon & Garfunkel’s “Bridge Over Troubled Water.”\u003c/p>\n\u003cfigure id=\"attachment_10849996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KevinSpaceyEND.jpg\" alt=\"Kevin Spacey sings with Patti Austin and backup vocalists at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10849996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KevinSpaceyEND.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KevinSpaceyEND-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Spacey sings with Patti Austin and backup vocalists at the Green Music Center, July 18, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>And though these are not entirely new waters for Spacey — in 2004, he \u003ca href=\"http://www.sfgate.com/music/article/Kevin-Spacey-takes-love-of-Bobby-Darin-to-a-whole-2666893.php\" target=\"_blank\" rel=\"noopener\">sold out Bimbo’s in San Francisco\u003c/a> on a short promotional tour for his Bobby Darin biopic \u003cem>Beyond the Sea\u003c/em> — it did feel like the start of a new era in his career, especially as he steps down as artistic director from the \u003ca href=\"http://www.oldvictheatre.com/\" target=\"_blank\" rel=\"noopener\">Old Vic\u003c/a> theater company in London this year.\u003c/p>\n\u003cp>“It’s my intention over the next 10 years to do more stuff like this,” Spacey declared, to adoring applause. “I don’t do this for a living… but I’d like to.”\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003cstrong>Set List:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Can I Steal a Little Love\u003cbr>\nYou’re Nobody ‘Til Somebody Loves You\u003cbr>\nAll the Way\u003cbr>\nThat’s Life\u003cbr>\nMr. Bojangles\u003cbr>\nFly Me to the Moon\u003cbr>\nHello, Young Lovers\u003cbr>\nThat’s All\u003cbr>\nHi-De-Ho\u003cbr>\n–\u003cbr>\nI’ve Got the World on a String\u003cbr>\nPiano Man\u003cbr>\nHow High the Moon (Patti Austin)\u003cbr>\nDon’t Worry ‘Bout Me\u003cbr>\nMy Funny Valentine\u003cbr>\nNew York State of Mind\u003cbr>\nWithout a Song\u003cbr>\nThe Curtain Falls\u003cbr>\n–\u003cbr>\nBridge Over Troubled Water (with Patti Austin)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift",
"headTitle": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift | KQED",
"content": "\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chrome at 40: The Most Influential Band You've Never Heard",
"headTitle": "Chrome at 40: The Most Influential Band You’ve Never Heard | KQED",
"content": "\u003cp>When it comes to influential underground rock bands, San Francisco is (was) lousy with them. Throw a rock randomly into a crowd on Market St. and you could end up hitting a member of the Flamin’ Groovies, Crime, or maybe even one of the Residents (though in the case of the Residents, you couldn’t confirm it).\u003c/p>\n\u003cp>Out of all the Bay Area bands to have been declared seminal, Chrome is probably the most influential while having the least to show for it. Founded in 1975, their Stooges-meets-synths-and-experimental-noise sound is credited with being the beginning of industrial rock music — the stuff that that made careers for Nine Inch Nails and Marilyn Manson, among countless others.\u003c/p>\n\u003cp>Yet when I call longtime Chrome guitarist Helios Creed days before he left for a week-long west coast tour, he tells me he doesn’t know where he’s going to live afterward because he’s being evicted from his Santa Cruz home.\u003c/p>\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/chrome/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Chrome\u003c/h2>\n\u003cdiv class=\"event-desc\">Groundbreaking industrial rock band reunited.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bottom of the Hill\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chrome/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“The toilet pipe gave out when I was sleeping. I awoke to water everywhere,” Creed says. “They blamed me for what happened. The toilet pipe wasn’t even mentioned, and they served eviction papers the next day.” \u003c/p>\n\u003cp>Born and raised in Long Beach, Calif., Creed began playing guitar at age 12 after his father, in the Navy at the time, brought him a \u003ca href=\"https://en.wikipedia.org/wiki/Guyatone\" target=\"_blank\" rel=\"noopener\">Guyatone\u003c/a> electric guitar from Japan for his birthday. He started mimicking his guitar heroes like Jimi Hendrix and Jeff Beck, but in his later teens Creed would expand his horizons with psychedelic drugs and heavier groups of the ’70s like Hawkwind (he would later quip that he invented his guitar sound by trying to recreate what he heard “listening to Black Sabbath on LSD on headphones when I was a teenager”).\u003c/p>\n\u003cfigure id=\"attachment_10838482\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Creed-pointing-e1436939521219-800x554.jpg\" alt=\"Helios Creed playing Chicago, 2014. (Photo by Robert Loerzel/ Undergroundbee.com )\" width=\"800\" height=\"554\" class=\"size-medium wp-image-10838482\">\u003cfigcaption class=\"wp-caption-text\">Helios Creed performing in Chicago, 2014. (Photo by Robert Loerzel/ \u003ca href=\"http://www.undergroundbee.com\" target=\"_blank\" rel=\"noopener\">Undergroundbee.com\u003c/a> )\u003c/figcaption>\u003c/figure>\n\u003cp>Creed moved to San Francisco in the mid ’70s, and soon met Chrome’s original bassist, Gary Spain, who introduced Creed to the group’s first album \u003ci>The Visitation\u003c/i>. Creed not only enjoyed the music, but he knew he had to be in the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By then Chrome was falling apart: guitarist John Lambdin, suffering from amphetamine psychosis, was hospitalized. But Chrome’s mastermind Damon Edge (born Thomas Wisse) had already switched his attention to turning the band into a recording project, using his trust fund money to rent a house and buy equipment.\u003c/p>\n\u003cp>“When I met (Damon), he had long, straight, kinda greasy hair and he was wearing an ‘Aloha’ shirt with a sports coat,” Creed says. “He was a little chubby [laughs].” \u003c/p>\n\u003cp>According to Creed, though Chrome was a psychedelic band, they never “jammed.” “That was a hippie thing,” Creed says. “And we never played the blues [laughs].”\u003c/p>\n\u003cp>The two began working on \u003ci>Ultra Soundtrack\u003c/i>, intended to accompany a live psychedelic strip show. But when its mind-bending sound-collage style was deemed too weird for the dancers, the duo expanded the recording with straight-ahead rock tracks and processed tape loops, releasing it as \u003ci>Alien Soundtracks\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdBQFlDOv0s\u003c/p>\n\u003cp>\u003ci>Alien Soundtracks\u003c/i> was released on Edge’s Siren Records the same year the Sex Pistols’ \u003ci>Never Mind The Bollocks\u003c/i> blew up the music world, and Chrome became an underground sensation in both the U.K. and the U.S. practically overnight.\u003c/p>\n\u003cp>“The covers of our albums filled the windows of record stores,” Creed recalls. “I was surprised; I didn’t think people were going to like it that much.”\u003c/p>\n\u003cp>Edge and Creed doubled down on the space riffs and abrasive drumming for the next album, 1978’s \u003ci>Half Machine Lip Moves\u003c/i>, their most popular album to date. It has all the trademark touches of a classic industrial rock record: samples of people talking; scrap metal used as percussion; and crunchy, super-distorted guitar. The magazine \u003ci>Wire\u003c/i> would include it in its list of “100 Records That Set the World on Fire (While No One Was Listening).”\u003c/p>\n\u003cp>Creed and Edge recorded three more albums — \u003ci>Red Exposure,\u003c/i> \u003ci>Blood On The Moon\u003c/i> and \u003ci>3rd From The Sun\u003c/i> — each one just as groundbreaking as the last. Yet the band would never fully overcome its cult status, and sapped Edge’s trust fund dry, according to Creed. Though they were famous in certain circles, Chrome would never achieve mainstream success, partially because Edge refused to perform in public until 1981.\u003c/p>\n\u003cp>“He had hangups about playing live under different circumstances,” Creed says. \u003c/p>\n\u003cp>Edge moved to Europe in 1983, continuing to record and play under the moniker Chrome. He would die of heart failure in 1995.\u003c/p>\n\u003cp>Creed would play for years under his name, and released underground-successful records on labels like Sub Pop and Amphetamine Reptile. At the same time, Chrome’s profile rose again during the ’90s thanks to industrial rock’s entrance in the pop charts, the re-release of their albums, and bands such as the Jesus Lizard and Prong covering their songs.\u003c/p>\n\u003cfigure id=\"attachment_10840009\" class=\"wp-caption alignright\" style=\"max-width: 561px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali-561x600.jpg\" alt=\"Helios Creed, David Yow (singer for Jesus Lizard) and Chrome drummer Aleph Kali (Courtesy of Helios Creed)\" width=\"561\" height=\"600\" class=\"size-medium wp-image-10840009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali-561x600.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali-400x428.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali.jpg 898w\" sizes=\"(max-width: 561px) 100vw, 561px\">\u003cfigcaption class=\"wp-caption-text\">Helios Creed, David Yow (singer for Jesus Lizard) and Chrome drummer Aleph Kali (Courtesy of Helios Creed)\u003c/figcaption>\u003c/figure>\n\u003cp>For a few years around the turn of the century, Creed reclaimed the Chrome name and played with two other former members, John and Hilary Stench, releasing a few recordings with the lineup. In more recent years, Creed has recruited a new band and finally taken advantage of the years of acclaim by performing around the globe, including festivals such as Spain’s Primavera Sound.\u003c/p>\n\u003cp>In the same time frame, Chrome also released two new albums: \u003ci>Half Machine from the Sun\u003c/i>, a collection of lost tracks recorded between 1979 to 1980; and \u003ci>Feel It Like A Scientist\u003c/i>, with all-new material. To the surprise of many, both albums sound like they were recorded by the Chrome of old, full of the psychedelic sci-fi punk the band’s dedicated followers worship. \u003c/p>\n\u003cp>“It amazes people how \u003ci>Feel It Like A Scientist\u003c/i> just fit in with everything else,” Creed says. “Maybe I had something to do with it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QKKZS4h1OQQ\u003c/p>\n\n",
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"excerpt": "San Francisco's Chrome created a sound that would provide careers for artists like Nine Inch Nails and Marilyn Manson -- yet they rarely receive the accolades they deserve.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to influential underground rock bands, San Francisco is (was) lousy with them. Throw a rock randomly into a crowd on Market St. and you could end up hitting a member of the Flamin’ Groovies, Crime, or maybe even one of the Residents (though in the case of the Residents, you couldn’t confirm it).\u003c/p>\n\u003cp>Out of all the Bay Area bands to have been declared seminal, Chrome is probably the most influential while having the least to show for it. Founded in 1975, their Stooges-meets-synths-and-experimental-noise sound is credited with being the beginning of industrial rock music — the stuff that that made careers for Nine Inch Nails and Marilyn Manson, among countless others.\u003c/p>\n\u003cp>Yet when I call longtime Chrome guitarist Helios Creed days before he left for a week-long west coast tour, he tells me he doesn’t know where he’s going to live afterward because he’s being evicted from his Santa Cruz home.\u003c/p>\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/chrome/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Chrome\u003c/h2>\n\u003cdiv class=\"event-desc\">Groundbreaking industrial rock band reunited.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bottom of the Hill\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chrome/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“The toilet pipe gave out when I was sleeping. I awoke to water everywhere,” Creed says. “They blamed me for what happened. The toilet pipe wasn’t even mentioned, and they served eviction papers the next day.” \u003c/p>\n\u003cp>Born and raised in Long Beach, Calif., Creed began playing guitar at age 12 after his father, in the Navy at the time, brought him a \u003ca href=\"https://en.wikipedia.org/wiki/Guyatone\" target=\"_blank\" rel=\"noopener\">Guyatone\u003c/a> electric guitar from Japan for his birthday. He started mimicking his guitar heroes like Jimi Hendrix and Jeff Beck, but in his later teens Creed would expand his horizons with psychedelic drugs and heavier groups of the ’70s like Hawkwind (he would later quip that he invented his guitar sound by trying to recreate what he heard “listening to Black Sabbath on LSD on headphones when I was a teenager”).\u003c/p>\n\u003cfigure id=\"attachment_10838482\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Creed-pointing-e1436939521219-800x554.jpg\" alt=\"Helios Creed playing Chicago, 2014. (Photo by Robert Loerzel/ Undergroundbee.com )\" width=\"800\" height=\"554\" class=\"size-medium wp-image-10838482\">\u003cfigcaption class=\"wp-caption-text\">Helios Creed performing in Chicago, 2014. (Photo by Robert Loerzel/ \u003ca href=\"http://www.undergroundbee.com\" target=\"_blank\" rel=\"noopener\">Undergroundbee.com\u003c/a> )\u003c/figcaption>\u003c/figure>\n\u003cp>Creed moved to San Francisco in the mid ’70s, and soon met Chrome’s original bassist, Gary Spain, who introduced Creed to the group’s first album \u003ci>The Visitation\u003c/i>. Creed not only enjoyed the music, but he knew he had to be in the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By then Chrome was falling apart: guitarist John Lambdin, suffering from amphetamine psychosis, was hospitalized. But Chrome’s mastermind Damon Edge (born Thomas Wisse) had already switched his attention to turning the band into a recording project, using his trust fund money to rent a house and buy equipment.\u003c/p>\n\u003cp>“When I met (Damon), he had long, straight, kinda greasy hair and he was wearing an ‘Aloha’ shirt with a sports coat,” Creed says. “He was a little chubby [laughs].” \u003c/p>\n\u003cp>According to Creed, though Chrome was a psychedelic band, they never “jammed.” “That was a hippie thing,” Creed says. “And we never played the blues [laughs].”\u003c/p>\n\u003cp>The two began working on \u003ci>Ultra Soundtrack\u003c/i>, intended to accompany a live psychedelic strip show. But when its mind-bending sound-collage style was deemed too weird for the dancers, the duo expanded the recording with straight-ahead rock tracks and processed tape loops, releasing it as \u003ci>Alien Soundtracks\u003c/i>.\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/QdBQFlDOv0s'\n title='//www.youtube.com/embed/QdBQFlDOv0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Alien Soundtracks\u003c/i> was released on Edge’s Siren Records the same year the Sex Pistols’ \u003ci>Never Mind The Bollocks\u003c/i> blew up the music world, and Chrome became an underground sensation in both the U.K. and the U.S. practically overnight.\u003c/p>\n\u003cp>“The covers of our albums filled the windows of record stores,” Creed recalls. “I was surprised; I didn’t think people were going to like it that much.”\u003c/p>\n\u003cp>Edge and Creed doubled down on the space riffs and abrasive drumming for the next album, 1978’s \u003ci>Half Machine Lip Moves\u003c/i>, their most popular album to date. It has all the trademark touches of a classic industrial rock record: samples of people talking; scrap metal used as percussion; and crunchy, super-distorted guitar. The magazine \u003ci>Wire\u003c/i> would include it in its list of “100 Records That Set the World on Fire (While No One Was Listening).”\u003c/p>\n\u003cp>Creed and Edge recorded three more albums — \u003ci>Red Exposure,\u003c/i> \u003ci>Blood On The Moon\u003c/i> and \u003ci>3rd From The Sun\u003c/i> — each one just as groundbreaking as the last. Yet the band would never fully overcome its cult status, and sapped Edge’s trust fund dry, according to Creed. Though they were famous in certain circles, Chrome would never achieve mainstream success, partially because Edge refused to perform in public until 1981.\u003c/p>\n\u003cp>“He had hangups about playing live under different circumstances,” Creed says. \u003c/p>\n\u003cp>Edge moved to Europe in 1983, continuing to record and play under the moniker Chrome. He would die of heart failure in 1995.\u003c/p>\n\u003cp>Creed would play for years under his name, and released underground-successful records on labels like Sub Pop and Amphetamine Reptile. At the same time, Chrome’s profile rose again during the ’90s thanks to industrial rock’s entrance in the pop charts, the re-release of their albums, and bands such as the Jesus Lizard and Prong covering their songs.\u003c/p>\n\u003cfigure id=\"attachment_10840009\" class=\"wp-caption alignright\" style=\"max-width: 561px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali-561x600.jpg\" alt=\"Helios Creed, David Yow (singer for Jesus Lizard) and Chrome drummer Aleph Kali (Courtesy of Helios Creed)\" width=\"561\" height=\"600\" class=\"size-medium wp-image-10840009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali-561x600.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali-400x428.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Creed-You-Aleph-Kali.jpg 898w\" sizes=\"(max-width: 561px) 100vw, 561px\">\u003cfigcaption class=\"wp-caption-text\">Helios Creed, David Yow (singer for Jesus Lizard) and Chrome drummer Aleph Kali (Courtesy of Helios Creed)\u003c/figcaption>\u003c/figure>\n\u003cp>For a few years around the turn of the century, Creed reclaimed the Chrome name and played with two other former members, John and Hilary Stench, releasing a few recordings with the lineup. In more recent years, Creed has recruited a new band and finally taken advantage of the years of acclaim by performing around the globe, including festivals such as Spain’s Primavera Sound.\u003c/p>\n\u003cp>In the same time frame, Chrome also released two new albums: \u003ci>Half Machine from the Sun\u003c/i>, a collection of lost tracks recorded between 1979 to 1980; and \u003ci>Feel It Like A Scientist\u003c/i>, with all-new material. To the surprise of many, both albums sound like they were recorded by the Chrome of old, full of the psychedelic sci-fi punk the band’s dedicated followers worship. \u003c/p>\n\u003cp>“It amazes people how \u003ci>Feel It Like A Scientist\u003c/i> just fit in with everything else,” Creed says. “Maybe I had something to do with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rewind: Five Seminal Bay Area Rap Tapes With Noz",
"headTitle": "Rewind: Five Seminal Bay Area Rap Tapes With Noz | KQED",
"content": "\u003cp>“I’ve been trying to escape the internet for a decade,” Andrew Nosnitsky says. \u003c/p>\n\u003cp>And it hasn’t been easy. For the past 12 years, Nosnitsky has been better known online as “Noz,” the hip-hop critic and creator of the influential blog \u003ca href=\"http://www.cocaineblunts.com/blunts/\" target=\"_blank\" rel=\"noopener\">Cocaine Blunts\u003c/a> that often features songs seldom found through conventional means.\u003c/p>\n\u003cp>But last month, Nosnitsky finally came offline and into an Oakland storefront near Lake Merritt. Opened with friend and fellow rap blogger Jason Darrah, \u003ca href=\"http://www.parkblvdrecords.com/\" target=\"_blank\" rel=\"noopener\">Park Blvd. Records & Tapes\u003c/a> brings their shared love of hard-to-find hip-hop to fans who want to engage with music \u003ca href=\"http://www.urbandictionary.com/define.php?term=IRL\" target=\"_blank\" rel=\"noopener\">IRL\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Andrew Nosnitsky discuss five influential Bay Area cassettes from Park Blvd.’s shelves: \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/214763643″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”200″ iframe=”true” /]\u003c/p>\n\u003cp>“Part of the goal of opening the shop was to create a space to transfer some of those [online] conversations into the real world,” says Nosnitsky, whose chin-length blonde hair and tanned skin make him look more like one who spends his days chasing waves than someone trapped behind a computer screen. “All the bickering, fighting, name calling, and the general warfare of the internet — none of that happens in record stores.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a recent Wednesday afternoon, the scene inside Park Blvd. Records & Tapes is anything but hostile. Most of the half-dozen or so shoppers gather in a circle, excitedly discussing everything from their favorite all-time beats to the biggest missteps of the industry’s top rappers. In this way, the shop serves as a clubhouse for rap nerds, a safe place where one can obsess over the genre’s minutiae in good company. \u003c/p>\n\u003cfigure id=\"attachment_10838497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBGroup.jpg\" alt=\"Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. \" width=\"640\" height=\"457\" class=\"size-full wp-image-10838497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area music stores that specialize in rare and used collectibles have been a popular destination for obsessed music fans since \u003ca href=\"http://www.rasputinmusic.com/\" target=\"_blank\" rel=\"noopener\">Rasputin Music\u003c/a> first opened in Berkeley nearly 50 years ago. In fact, in the early aughts, New Jersey-born Nosnitsky would come west to buy duffel bags full of used rap tapes and CDs from \u003ca href=\"http://www.amoeba.com/\" target=\"_blank\" rel=\"noopener\">Amoeba Music\u003c/a> in Berkeley and San Francisco. Little did he know then that he was building his own future inventory. \u003c/p>\n\u003cp>“I got really into the idea of \u003cem>not\u003c/em> having dozens of boxes in my mom’s basement,” he says, “and actually having people enjoy this stuff.” \u003c/p>\n\u003cp>But while recently opened Oakland shops like \u003ca href=\"http://1234gorecords.com/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go!\u003c/a> and \u003ca href=\"http://stranded-shop.com/\" target=\"_blank\" rel=\"noopener\">Stranded\u003c/a> specialize in punk and experimental music, Park Blvd. is the only specialty hip-hop store in Oakland — a city where Noz \u003ca href=\"https://twitter.com/noz/status/513012550716239873\" target=\"_blank\" rel=\"noopener\">once tweeted\u003c/a> to his 15,000 followers that it was impossible to reliably buy a record by Bay Area legend Too $hort.\u003c/p>\n\u003cp>That oversight was remedied when Nosnitsky opened the store in late June with Jason Darrah, a fellow compulsive collector whose site \u003ca href=\"http://12manrambotapes.blogspot.com/\" target=\"_blank\" rel=\"noopener\">12ManRambo\u003c/a> chronicles obscure Northern California rap cassettes. The store has become a resource for other local artists, too: in the store’s first week, San Francisco rapper \u003ca href=\"http://www.roachgigz.com/\" target=\"_blank\" rel=\"noopener\">Roach Gigz\u003c/a> stopped by the store to drop off physical copies of his albums, previously only available online; a couple days later the store received a package of music and iron-on decals from Bay Area artist \u003ca href=\"https://www.youtube.com/watch?v=5P6-V7J5S-0\" target=\"_blank\" rel=\"noopener\">Lil’ B\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_10838500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg\" alt=\"Local artists like Roach Gigz and Lil' B have already stocked their albums at Park Blvd. Records & Tapes in Oakland.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10838500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Local artists like Roach Gigz and Lil’ B have already stocked their albums at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We definitely need a store that will fulfill our drought of Bay Area music,” says 26-year-old James Laurence, one-half of the production duo \u003ca href=\"https://en.wikipedia.org/wiki/Friendzone\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a>. Laurence heard about the shop from his friend Squadda, a rapper in the group \u003ca href=\"https://en.wikipedia.org/wiki/Main_Attrakionz\" target=\"_blank\" rel=\"noopener\">Main Attrakionz\u003c/a>. “The chain stores don’t even sell local music, it sucks,” says Laurence, who, after browsing through the store’s bins, grabs a copy of a new Vince Staples CD that was released the day before.\u003c/p>\n\u003cp>“Is this any good?” he asks Nosnitsky. “Should I download it?”\u003c/p>\n\u003cp>Indeed, it will be a challenge for the Park Blvd. guys to compete with the ease of acquiring music in the digital age. But if every week is like their first two, they should be around for a while. \u003c/p>\n\u003cp>“We’ve done way better than we expected,” says Darrah, seated at his laptop, which reveals a long list of all the inventory sold that day. “There’s not a store that’s quite like this, that has a rap section that’s broken down into early New York rap, early L.A. electro, Midwest rap, etc. And we have quite a few cassettes that have been sealed for almost 25 years.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only does Park Blvd. stock nearly every sub-genre of hip-hop, but unlike the algorithms designed by online music curation sites like Pandora (whose headquarters are located in Oakland just a few miles away from the store), Darrah and Nosnitsky’s knowledge is real, and it runs deep.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’ve been trying to escape the internet for a decade,” Andrew Nosnitsky says. \u003c/p>\n\u003cp>And it hasn’t been easy. For the past 12 years, Nosnitsky has been better known online as “Noz,” the hip-hop critic and creator of the influential blog \u003ca href=\"http://www.cocaineblunts.com/blunts/\" target=\"_blank\" rel=\"noopener\">Cocaine Blunts\u003c/a> that often features songs seldom found through conventional means.\u003c/p>\n\u003cp>But last month, Nosnitsky finally came offline and into an Oakland storefront near Lake Merritt. Opened with friend and fellow rap blogger Jason Darrah, \u003ca href=\"http://www.parkblvdrecords.com/\" target=\"_blank\" rel=\"noopener\">Park Blvd. Records & Tapes\u003c/a> brings their shared love of hard-to-find hip-hop to fans who want to engage with music \u003ca href=\"http://www.urbandictionary.com/define.php?term=IRL\" target=\"_blank\" rel=\"noopener\">IRL\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Andrew Nosnitsky discuss five influential Bay Area cassettes from Park Blvd.’s shelves: \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”200″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/214763643″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/214763643″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Part of the goal of opening the shop was to create a space to transfer some of those [online] conversations into the real world,” says Nosnitsky, whose chin-length blonde hair and tanned skin make him look more like one who spends his days chasing waves than someone trapped behind a computer screen. “All the bickering, fighting, name calling, and the general warfare of the internet — none of that happens in record stores.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a recent Wednesday afternoon, the scene inside Park Blvd. Records & Tapes is anything but hostile. Most of the half-dozen or so shoppers gather in a circle, excitedly discussing everything from their favorite all-time beats to the biggest missteps of the industry’s top rappers. In this way, the shop serves as a clubhouse for rap nerds, a safe place where one can obsess over the genre’s minutiae in good company. \u003c/p>\n\u003cfigure id=\"attachment_10838497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBGroup.jpg\" alt=\"Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. \" width=\"640\" height=\"457\" class=\"size-full wp-image-10838497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area music stores that specialize in rare and used collectibles have been a popular destination for obsessed music fans since \u003ca href=\"http://www.rasputinmusic.com/\" target=\"_blank\" rel=\"noopener\">Rasputin Music\u003c/a> first opened in Berkeley nearly 50 years ago. In fact, in the early aughts, New Jersey-born Nosnitsky would come west to buy duffel bags full of used rap tapes and CDs from \u003ca href=\"http://www.amoeba.com/\" target=\"_blank\" rel=\"noopener\">Amoeba Music\u003c/a> in Berkeley and San Francisco. Little did he know then that he was building his own future inventory. \u003c/p>\n\u003cp>“I got really into the idea of \u003cem>not\u003c/em> having dozens of boxes in my mom’s basement,” he says, “and actually having people enjoy this stuff.” \u003c/p>\n\u003cp>But while recently opened Oakland shops like \u003ca href=\"http://1234gorecords.com/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go!\u003c/a> and \u003ca href=\"http://stranded-shop.com/\" target=\"_blank\" rel=\"noopener\">Stranded\u003c/a> specialize in punk and experimental music, Park Blvd. is the only specialty hip-hop store in Oakland — a city where Noz \u003ca href=\"https://twitter.com/noz/status/513012550716239873\" target=\"_blank\" rel=\"noopener\">once tweeted\u003c/a> to his 15,000 followers that it was impossible to reliably buy a record by Bay Area legend Too $hort.\u003c/p>\n\u003cp>That oversight was remedied when Nosnitsky opened the store in late June with Jason Darrah, a fellow compulsive collector whose site \u003ca href=\"http://12manrambotapes.blogspot.com/\" target=\"_blank\" rel=\"noopener\">12ManRambo\u003c/a> chronicles obscure Northern California rap cassettes. The store has become a resource for other local artists, too: in the store’s first week, San Francisco rapper \u003ca href=\"http://www.roachgigz.com/\" target=\"_blank\" rel=\"noopener\">Roach Gigz\u003c/a> stopped by the store to drop off physical copies of his albums, previously only available online; a couple days later the store received a package of music and iron-on decals from Bay Area artist \u003ca href=\"https://www.youtube.com/watch?v=5P6-V7J5S-0\" target=\"_blank\" rel=\"noopener\">Lil’ B\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_10838500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg\" alt=\"Local artists like Roach Gigz and Lil' B have already stocked their albums at Park Blvd. Records & Tapes in Oakland.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10838500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Local artists like Roach Gigz and Lil’ B have already stocked their albums at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We definitely need a store that will fulfill our drought of Bay Area music,” says 26-year-old James Laurence, one-half of the production duo \u003ca href=\"https://en.wikipedia.org/wiki/Friendzone\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a>. Laurence heard about the shop from his friend Squadda, a rapper in the group \u003ca href=\"https://en.wikipedia.org/wiki/Main_Attrakionz\" target=\"_blank\" rel=\"noopener\">Main Attrakionz\u003c/a>. “The chain stores don’t even sell local music, it sucks,” says Laurence, who, after browsing through the store’s bins, grabs a copy of a new Vince Staples CD that was released the day before.\u003c/p>\n\u003cp>“Is this any good?” he asks Nosnitsky. “Should I download it?”\u003c/p>\n\u003cp>Indeed, it will be a challenge for the Park Blvd. guys to compete with the ease of acquiring music in the digital age. But if every week is like their first two, they should be around for a while. \u003c/p>\n\u003cp>“We’ve done way better than we expected,” says Darrah, seated at his laptop, which reveals a long list of all the inventory sold that day. “There’s not a store that’s quite like this, that has a rap section that’s broken down into early New York rap, early L.A. electro, Midwest rap, etc. And we have quite a few cassettes that have been sealed for almost 25 years.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only does Park Blvd. stock nearly every sub-genre of hip-hop, but unlike the algorithms designed by online music curation sites like Pandora (whose headquarters are located in Oakland just a few miles away from the store), Darrah and Nosnitsky’s knowledge is real, and it runs deep.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Come Play a Piano in the San Francisco Botanical Gardens",
"headTitle": "Come Play a Piano in the San Francisco Botanical Gardens | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273391106″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The tinkling of a piano floats through the trees in the \u003ca href=\"http://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Gardens\u003c/a> mixed with bird song and the sound of the wind.\u003c/p>\n\u003cp>The music appears courtesy of \u003ca href=\"http://www.sfbotanicalgarden.org/75/flower_piano.html\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a>, a project created by artists Dean Mermell and \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Mauro ffortissimo\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10836391\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg\" alt='Mauro ffortissimo at the keyboards and Dean Mermell at \"Flower Piano\" in the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mauro ffortissimo at the keyboards and Dean Mermell at “Flower Piano” in the San Francisco Botanical Gardens \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists recently installed 12 pianos around the Botanical Gardens. There’s one nestled in a redwood grove, another one by the waterfowl garden, and a Vose and Sons grand piano on a terrace overlooking the Great Meadow.\u003c/p>\n\u003cp>“We were just talking about how great it is to look over the piano and see this great undulating landscape,” Mermell said. “It’s all manicured and beautiful, and the fog and the mist. It’s just an amazing place to play music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pianos generally still play fine even in damp conditions.\u003c/p>\n\u003cp>“They’re not concert-level Steinways, but for being out in this beautiful setting, they’re great,” ffortisimo said. “The pianos never die with us.”\u003c/p>\n\u003cp>Sometimes the instruments do become unplayable after exposure to the outdoors. But ffortissimo and Mermell aim to make the pianos’ last days beautiful.\u003c/p>\n\u003cp>Over the past two years, the two guerilla piano installers have been conducting a performance art experiment. Under the name \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Sunset Piano\u003c/a>, they’ve been placing instruments on the streets of San Francisco as well as on bluffs along the San Mateo Coast. Mermell is making a \u003ca href=\"http://sunsetpiano.com/film/\" target=\"_blank\" rel=\"noopener\">documentary film \u003c/a>about the project.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=16EfwKbDQQ0\u003c/p>\n\u003cp>The two adopt pianos the way some people take in homeless pets. And in the age of streaming music and earbuds, there are plenty of people willing to part with a piano that no one in the house plays anymore.\u003c/p>\n\u003cp>ffortisimo says installing pianos in public spaces is an experiment in community building. According to the artist, different settings change the listening experience.\u003c/p>\n\u003cp>“I was playing on the San Mateo coast one day, close to the sun setting, ” ffortissimo said. “A guy goes by on a bicycle and he said, ‘who are you playing for?’ I said ‘I’m playing for whales.'”\u003c/p>\n\u003cp>Flower Piano is part of the Botanical Gardens’ 75th anniversary celebration, and there are concerts scheduled this weekend by pros like Lara Downes, Rupa and Freddi Price.\u003c/p>\n\u003cp>But the keyboards are also a magnet for passersby, like five-year-old San Franciscan Kirill Reifstock, who improvised on the theme of “Twinkle Twinkle.”\u003c/p>\n\u003cp>“It was my first time playing it,” Kirill said.\u003c/p>\n\u003cfigure id=\"attachment_10836390\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg\" alt='Kirill Reifstock playing \"Twinkle Twinkle,\" at the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kirill Reifstock playing “Twinkle Twinkle” at the San Francisco Botanical Gardens \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical Gardens visitor Marge Paradis said finding the pianos in this unlikely place was like falling down\u003cem> Alice in Wonderland\u003c/em>’s rabbit hole.\u003c/p>\n\u003cp>“It’s like wow!” Paradis said. “It’s weird and strange and wonderful.”\u003c/p>\n\u003cp>The pianos will be at the Botanical Gardens for anyone to play through July 20th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/273391106″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/273391106″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The tinkling of a piano floats through the trees in the \u003ca href=\"http://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Gardens\u003c/a> mixed with bird song and the sound of the wind.\u003c/p>\n\u003cp>The music appears courtesy of \u003ca href=\"http://www.sfbotanicalgarden.org/75/flower_piano.html\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a>, a project created by artists Dean Mermell and \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Mauro ffortissimo\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10836391\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg\" alt='Mauro ffortissimo at the keyboards and Dean Mermell at \"Flower Piano\" in the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mauro ffortissimo at the keyboards and Dean Mermell at “Flower Piano” in the San Francisco Botanical Gardens \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists recently installed 12 pianos around the Botanical Gardens. There’s one nestled in a redwood grove, another one by the waterfowl garden, and a Vose and Sons grand piano on a terrace overlooking the Great Meadow.\u003c/p>\n\u003cp>“We were just talking about how great it is to look over the piano and see this great undulating landscape,” Mermell said. “It’s all manicured and beautiful, and the fog and the mist. It’s just an amazing place to play music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pianos generally still play fine even in damp conditions.\u003c/p>\n\u003cp>“They’re not concert-level Steinways, but for being out in this beautiful setting, they’re great,” ffortisimo said. “The pianos never die with us.”\u003c/p>\n\u003cp>Sometimes the instruments do become unplayable after exposure to the outdoors. But ffortissimo and Mermell aim to make the pianos’ last days beautiful.\u003c/p>\n\u003cp>Over the past two years, the two guerilla piano installers have been conducting a performance art experiment. Under the name \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Sunset Piano\u003c/a>, they’ve been placing instruments on the streets of San Francisco as well as on bluffs along the San Mateo Coast. Mermell is making a \u003ca href=\"http://sunsetpiano.com/film/\" target=\"_blank\" rel=\"noopener\">documentary film \u003c/a>about the project.\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/16EfwKbDQQ0'\n title='//www.youtube.com/embed/16EfwKbDQQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The two adopt pianos the way some people take in homeless pets. And in the age of streaming music and earbuds, there are plenty of people willing to part with a piano that no one in the house plays anymore.\u003c/p>\n\u003cp>ffortisimo says installing pianos in public spaces is an experiment in community building. According to the artist, different settings change the listening experience.\u003c/p>\n\u003cp>“I was playing on the San Mateo coast one day, close to the sun setting, ” ffortissimo said. “A guy goes by on a bicycle and he said, ‘who are you playing for?’ I said ‘I’m playing for whales.'”\u003c/p>\n\u003cp>Flower Piano is part of the Botanical Gardens’ 75th anniversary celebration, and there are concerts scheduled this weekend by pros like Lara Downes, Rupa and Freddi Price.\u003c/p>\n\u003cp>But the keyboards are also a magnet for passersby, like five-year-old San Franciscan Kirill Reifstock, who improvised on the theme of “Twinkle Twinkle.”\u003c/p>\n\u003cp>“It was my first time playing it,” Kirill said.\u003c/p>\n\u003cfigure id=\"attachment_10836390\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg\" alt='Kirill Reifstock playing \"Twinkle Twinkle,\" at the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kirill Reifstock playing “Twinkle Twinkle” at the San Francisco Botanical Gardens \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical Gardens visitor Marge Paradis said finding the pianos in this unlikely place was like falling down\u003cem> Alice in Wonderland\u003c/em>’s rabbit hole.\u003c/p>\n\u003cp>“It’s like wow!” Paradis said. “It’s weird and strange and wonderful.”\u003c/p>\n\u003cp>The pianos will be at the Botanical Gardens for anyone to play through July 20th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Harry Connick, Jr. Runs the Gamut at the Wells Fargo Center",
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"content": "\u003cp>What’s Harry Connick Jr. up to these days? To those whose reference point begins and ends with the \u003cem>When Harry Met Sally\u003c/em> soundtrack, the answer is: a whole lot.\u003c/p>\n\u003cp>Country music? Check. Standup comedy? Check. Rap? Well, yeah, a little of that too, believe it or not.\u003c/p>\n\u003cp>Throughout last night’s two-hour show in Santa Rosa, the pianist and singer proved how versatile he’s been in the decades since “It Had to Be You” and “The Way You Look Tonight.” After opening with standards “Just in Time” and “More,” Connick’s New Orleans roots quickly showed in a free-for-all horn battle that found Connick, on trumpet, trading fours with lead trumpet Leroy Jones and — after losing — splayed upon the stage on his back in defeat.\u003c/p>\n\u003cp>These dashes of theatrics come easy for the Hollywood-seasoned Connick, who’s racked up over 20 screen credits in the past 25 years. At one point in the variety show, he clowned along with trombonist Lucien Barbarin to “How Come You Do Me Like You Do?,” with Barbarin copping the sashaying moves of a sassy drag queen before settling into a solo so flawless that Connick was behooved to retreat to a seat on the bandstand, out of the spotlight.\u003c/p>\n\u003cp>This is Connick the actor, yes, but it’s also Connick the Big Easy ambassador; he gave full songs over to members of his band, including guitarist Jonathan DuBose, Jr., who belted out a faithful rendition of “Jesus on the Mainline” (the two sometimes \u003ca href=\"https://www.youtube.com/watch?v=DqMle57qq-8\" target=\"_blank\" rel=\"noopener\">perform the song together at church\u003c/a>) and buoyed a sing-along of “How Great Thou Art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those hymns of old abutted with new original material, including “No One Does ‘I Do’ Like We Do,” a full-on country song with acoustic guitar, a three-chord arrangement and Roger Miller-style skiffle drum beat. This was followed by “I Like the Way You Smile,” another new song, which featured Connick cautiously rapping on the bridge.\u003c/p>\n\u003cp>In fact, the show often felt like a merry-go-round of Connick’s skills, switching from one style to the next in such rapid succession that one wondered where the baby-faced crooner of the Clinton era had gone. (After the show, I overheard a guy tell his wife: “I thought he was gonna do that good ol’ Sinatra stuff.”) Even those weaned on Connick’s early solo piano albums, the product of his study with the late keyboard giant James Booker III, might have struggled to find their adroit fingerwork represented; a jazz trio version of “I Concentrate on You” found Connick awkwardly stilted and off-rhythm in his improvisations. \u003c/p>\n\u003cp>Of course, with a high-profile job on \u003cem>American Idol\u003c/em>, Harry Connick, Jr. is playing to a whole new group of fans who come for his personality as much as his music. That would explain the multiple set breaks of Connick telling stories and making jokes last night — about the shoddy workmanship of his Moroccan shoes, about his failing eyesight — to the delight of the mostly white, mostly older crowd. Even a decades-old joke about MC Hammer’s pants went over well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The crowd had already jumped to its feet several times throughout the night, but Connick’s swampy set closer of Allen Toussaint’s “Yes We Can Can” brought them to their feet anew. As an encore, Connick took a fan request for “Come By Me,” and suddenly, there it was: the barrelhouse piano Connick, the coy romantic Connick, the dynamic singer Connick, all in one quick burst. Is there anything the guy can’t do?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those hymns of old abutted with new original material, including “No One Does ‘I Do’ Like We Do,” a full-on country song with acoustic guitar, a three-chord arrangement and Roger Miller-style skiffle drum beat. This was followed by “I Like the Way You Smile,” another new song, which featured Connick cautiously rapping on the bridge.\u003c/p>\n\u003cp>In fact, the show often felt like a merry-go-round of Connick’s skills, switching from one style to the next in such rapid succession that one wondered where the baby-faced crooner of the Clinton era had gone. (After the show, I overheard a guy tell his wife: “I thought he was gonna do that good ol’ Sinatra stuff.”) Even those weaned on Connick’s early solo piano albums, the product of his study with the late keyboard giant James Booker III, might have struggled to find their adroit fingerwork represented; a jazz trio version of “I Concentrate on You” found Connick awkwardly stilted and off-rhythm in his improvisations. \u003c/p>\n\u003cp>Of course, with a high-profile job on \u003cem>American Idol\u003c/em>, Harry Connick, Jr. is playing to a whole new group of fans who come for his personality as much as his music. That would explain the multiple set breaks of Connick telling stories and making jokes last night — about the shoddy workmanship of his Moroccan shoes, about his failing eyesight — to the delight of the mostly white, mostly older crowd. Even a decades-old joke about MC Hammer’s pants went over well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The crowd had already jumped to its feet several times throughout the night, but Connick’s swampy set closer of Allen Toussaint’s “Yes We Can Can” brought them to their feet anew. As an encore, Connick took a fan request for “Come By Me,” and suddenly, there it was: the barrelhouse piano Connick, the coy romantic Connick, the dynamic singer Connick, all in one quick burst. Is there anything the guy can’t do?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bonded by Blood: Five Bay Area Metal Bands that Changed the '80s",
"headTitle": "Bonded by Blood: Five Bay Area Metal Bands that Changed the ’80s | KQED",
"content": "\u003cp>A recent study showed that fans of heavy metal in the ’80s have grown up to be \u003ca href=\"http://ww2.kqed.org/pop/2015/07/08/study-aging-80s-metal-fans-doing-better-than-everyone/\" target=\"_blank\" rel=\"noopener noreferrer\">happier than others in their generation\u003c/a>, and if this is true, the Bay Area must be full of well-adjusted \u003ca href=\"http://www.urbandictionary.com/define.php?term=hesher\" target=\"_blank\" rel=\"noopener noreferrer\">heshers\u003c/a>.\u003c/p>\n\u003cp>The Bay Area was such a great place for metal, in fact, that it beckoned Metallica to move here from L.A., and it produced not one, but two subgenres of metal: thrash and death metal.\u003c/p>\n\u003cp>The Bay Area thrash scene might not have had the media attention L.A.’s glam scene received—probably because its participants weren’t as photogenic—but it produced the kind of true metal that real headbangers seek out. Bay Area metal was fast, technical and aggressive, and its impact can be heard more prominently in today’s metal bands than any of the poofy-haired Aerosmith ripoffs from SoCal.\u003c/p>\n\u003cp>[aside postID='arts_13903050']\u003c/p>\n\u003cp>Five of the Bay Area’s metal bands stick out as particularly influential. For those unfamiliar with the Bay Area’s metal history, this list isn’t meant to inspire the purchase of a denim vest and crude drawings of the group’s logos on the back with a Sharpie. This list is to give these thrashers the props they deserve.\u003c/p>\n\u003ch2>1. \u003ca href=\"http://www.metallica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Metallica_logoSMALL.jpg\" alt=\"Metallica_logoSMALL\" width=\"209\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10834476\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew) \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of \u003cem>course\u003c/em> Metallica is first on this list. Whatever you think of their later entrance into pop music, Metallica’s first four albums are high water marks for heavy metal. Their first LP \u003ci>Kill ‘Em All\u003c/i> was released while the band was living in El Cerrito, and for many headbangers around the world it would be their introduction to Bay Area thrash.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are dozens of songs from Metallica’s early days that demonstrate their power at such an early age, so let’s start with the first track from \u003ci>Kill ‘Em All\u003c/i>, “Hit The Lights.” The song has melody, dynamics, and the use of echo and churning half-time rhythm in the chorus. It’s also contains Kirk Hammett’s exemplary solo work, groundbreaking in its own right; while Kerry King and Jeff Hanneman of Slayer re-wrote the book on guitar solos, turning them into exercises in technical ability (“Let’s see how many notes I can hit before I throw in a dive bomb!”), Hammett managed to stay referential to the work of guitar heroes like Uli Jon Roth and even Jimi Hendrix—but he played with breakneck speed to keep up with the tempo demands of thrash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FTqaCHl5Ra4\u003c/p>\n\u003ch2>2. \u003ca href=\"http://exodusattack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/exodus-logoSMALL.jpg\" alt=\"exodus-logoSMALL\" width=\"205\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834560\" class=\"wp-caption alignright\" style=\"max-width: 686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10834560\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg\" alt=\"Exodus playing live at Ruthie's Inn, Berkeley, in1984. (Photo by Brian Lew)\" width=\"686\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg 686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683-400x250.jpg 400w\" sizes=\"(max-width: 686px) 100vw, 686px\">\u003cfigcaption class=\"wp-caption-text\">Exodus playing live at Ruthie’s Inn, Berkeley, in 1984. (Photo by Brian Lew)\u003c/figcaption>\u003c/figure>\n\u003cp>When music nerds talk about thrash, they usually reference “\u003ca href=\"http://www.nytimes.com/2011/09/16/arts/music/music-review-big-four-with-anthrax-megadeth-slayer-and-metallica.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Big Four\u003c/a>”: Metallica, Slayer, Anthrax and Megadeth. But if a fifth band could be added, it would certainly be Exodus. Founded in 1980 by Hammett (before he joined Metallica) and drummer Tom Hunting, Exodus eventually found its stride with the additions of singer Paul Baloff and guitar shredder Gary Holt, who would become the group’s mastermind over its next three decades of existence. (Holt would later join Slayer, replacing Oakland-born guitarist Hanneman after his \u003ca href=\"http://www.rollingstone.com/music/news/slayer-guitarist-jeff-hanneman-died-of-alcohol-related-cirrhosis-20130510\" target=\"_blank\" rel=\"noopener noreferrer\">untimely death in 2013\u003c/a>.)\u003c/p>\n\u003cp>When it came to sound, Exodus shared more with Slayer than their Bay Area brethren Metallica, and that continues to be true to this day (they would later add touches of Pantera to the mix as well). But their debut album \u003ci>Bonded By Blood\u003c/i> is a stone-cold thrash classic, and if it had been released the same year as \u003ci>Kill ‘Em All\u003c/i>, as intended, it’s almost certain that Exodus would’ve seen similar success.\u003c/p>\n\u003cp>Sadly, the album was held up by the record label, and was marred by the reverb-laden production so common on early ’80s metal records—which is probably why the band re-recorded it in 2008 as \u003ci>Let There Be Blood\u003c/i> with third singer Rob Dukes at the helm. (Exodus recently reunited with their second and longest-running frontman, Steve “Zetro” Souza.) But tracks like “A Lesson In Violence” have a undeniable power, owing in no small part to the vocal work of Baloff. Sadly, Baloff was struck down by a stroke in 2002, which led to his death at the age of 41.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c0Kvzrxtwq8\u003c/p>\n\u003ch2>3. \u003ca href=\"https://www.facebook.com/666possessed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/possessedSMALL.gif\" alt=\"possessedSMALL\" width=\"185\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835073\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10835073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg\" alt=\"Possessed (Courtesy of Possessed's Facebook Page)\" width=\"600\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB-400x264.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Possessed (Courtesy of Possessed’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>There’s long been a common misconception that the subgenre of death metal was started by the Florida band Death. Yet it was El Sobrante’s Possessed whose 1984 demo \u003ci>Death Metal\u003c/i> would not only enter the phrase into the metal lexicon—it would come to literally define the music, described as an “extreme subgenre of heavy metal” by \u003ca href=\"https://en.wikipedia.org/wiki/Death_metal\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia\u003c/a>. Possessed’s songs were extreme indeed—punishingly fast, full of rapid-fire riffs, blasting drum beats and guttural vocals, and lyrics about the evilest of evil themes: violence and Satan.\u003c/p>\n\u003cp>Despite having the distinct honor of inspiring a new subgenre with \u003ci>Death Metal\u003c/i> and the LP \u003ci>Seven Churches\u003c/i>, by the band’s second album they had dropped their signature sound, thereby alienating fans. It wouldn’t be long after the second LP that the band would break up. Guitarist Larry LaLonde would go on to play with Primus, while singer/bassist Jeff Becerra became paralyzed from the waist down in a shooting incident. But Possessed’s status as death metal progenitors continued to garner the band a following, inspiring the wheelchair-bound Becerra to start playing shows as Possessed with new members. The obvious pick for a highlight track would be one of their hits—”The Exorcist” or “Death Metal”—but we’re going with another jam off \u003ci>Seven Churches\u003c/i>, “Satan’s Curse,” which is more representative of the death metal that was to come.\u003c/p>\n\u003cp>\u003cb>Update:\u003c/b> Becerra reached out to KQED after this article was published to explain the issue with the second Possessed album, \u003ci>Beyond The Gates\u003c/i>:\u003c/p>\n\u003cp>“How the story goes is that Carl (producer/ex-Rods) f–ed up the final mix so that the sound suffered and differed greatly from how we originally mixed it, which was MUCH heavier, with the guitars a LOT more distorted. But in the end BTG is still probably the best written and one of the most liked of our albums. This is the album where we gave Larry his first opportunity to write some of the songs and also gave us a chance to put something more into our music.\u003c/p>\n\u003cp>“In fact we sold more copies of the second album than the first and to this day it is a favorite of many Possessed fans. And to be honest today I am playing to larger audiences than ever and getting a lot of requests for Beyond The Gates material.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=duGLuv3N1P8\u003c/p>\n\u003ch2>4. \u003ca href=\"http://www.deathangel.us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/deathangellogoSMALL.gif\" alt=\"deathangellogoSMALL\" width=\"180\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-800x533.jpg\" alt=\"http://www.ckshotz.com/\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Cavestany (left), founding member of Death Angel, playing in 2013 (Photo by Chris Kentzell/\u003ca href=\"http://www.ckshotz.com\" target=\"_blank\" rel=\"noopener noreferrer\">CKShotz.com\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, four Filipino kids from Concord who were barely in their teens started a band in the vein of the New Wave of British Heavy Metal (NWOBHM) that had made its way overseas. The following year, Death Angel went into the studio to record their first demo, \u003ca href=\"https://www.youtube.com/watch?v=oohl7ICF2Kg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Heavy Metal Insanity\u003c/i>\u003c/a>—a rough-around-the-edges debut from a group of kids who weren’t even old enough to drive to a gig.\u003c/p>\n\u003cp>Death Angel then added a singer, former roadie Mark Osegueda, and a chance meeting with Metallica’s Hammett led to the legendary shredder recording their demo \u003ca href=\"https://www.youtube.com/watch?v=252MSq5F6-k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Kill As One.\u003c/i> \u003c/a>That resulted in a record deal with Engima Records, the release of landmark thrash albums \u003ci>The Ultra-Violence\u003c/i> and \u003ci>Frolic Through The Park\u003c/i>, and the band touring the globe before they were old enough to legally drink. Almost 30 years later, the band is still playing with Osegueda at the mic and founding member Rob Cavestany still on lead guitar.\u003c/p>\n\u003cp>Though the band’s track “Thrashers,” an ode to metal music and its fans, would be apt, we instead present the video for “Voracious Souls,” which was reportedly banned from MTV for its lyrical content and was shot right here in the Bay Area.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YjQjLLxWKCk\u003c/p>\n\u003ch2>5. \u003ca href=\"http://www.testamentlegions.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-logoSMALL.jpg\" alt=\"Testament-logoSMALL\" width=\"176\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg\" alt=\"Testament back in the day. (Courtesy of Testament's Facebook Page)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Testament back in the day. (Courtesy of Testament’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>Last but not least is Testament, who started performing in Berkeley under the moniker The Legacy back in 1983. When singer Chuck Billy joined the group in 1986, the band changed their name, upped their game and became one of the scene’s best groups.\u003c/p>\n\u003cp>Testament is another band that still plays today, and has managed to keep a large, dedicated following thanks to their consistent output. Lead guitarist and songwriter Alex Skolnick, a student of Joe Satriani, filled each Testament album with furious, head-banging songs, but he managed to sneak in actual melodies as well. As for a representative track, “Practice What You Preach” off the 1989 album of the same name is packed so full of killer riffs it should be declared lethal. But we’re going with “Over the Wall,” from their first album, 1987’s \u003ci>The Legacy\u003c/i>. Not only was it filmed on Alcatraz Island, it also shows Testament as a bunch of young, pimply-faced thrashers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ITWXnzcQFV4\u003c/p>\n\u003cp>There are plenty other bands worth noting from the Bay Area metal scene—sadly, we couldn’t include other amazing thrash bands such as Vio-Lence or crossover groups like Attitude Adjustment—and feel free to add your favorites below in the comments.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Thank you to Brian Lew for use of his photos, more of which can be seen in his book \u003ca href=\"http://www.bazillionpoints.com/shop/murder-in-the-front-row-by-brian-umlaut-lew-harald-o-oimoen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>Murder In The Front Row.\u003c/b>\u003c/a> Also, thanks to Jon “Quitty” Quittner for giving the “\u003ca href=\"http://hesherobsesher.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hessian Obsession\u003c/a>” umlaut of approval on this list.\u003c/i>\u003c/p>\n\n",
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"excerpt": "To lovers of heavy metal, the Bay Area's thrash scene is considered one of the most influential; here's a primer on five of its most notable groups.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent study showed that fans of heavy metal in the ’80s have grown up to be \u003ca href=\"http://ww2.kqed.org/pop/2015/07/08/study-aging-80s-metal-fans-doing-better-than-everyone/\" target=\"_blank\" rel=\"noopener noreferrer\">happier than others in their generation\u003c/a>, and if this is true, the Bay Area must be full of well-adjusted \u003ca href=\"http://www.urbandictionary.com/define.php?term=hesher\" target=\"_blank\" rel=\"noopener noreferrer\">heshers\u003c/a>.\u003c/p>\n\u003cp>The Bay Area was such a great place for metal, in fact, that it beckoned Metallica to move here from L.A., and it produced not one, but two subgenres of metal: thrash and death metal.\u003c/p>\n\u003cp>The Bay Area thrash scene might not have had the media attention L.A.’s glam scene received—probably because its participants weren’t as photogenic—but it produced the kind of true metal that real headbangers seek out. Bay Area metal was fast, technical and aggressive, and its impact can be heard more prominently in today’s metal bands than any of the poofy-haired Aerosmith ripoffs from SoCal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five of the Bay Area’s metal bands stick out as particularly influential. For those unfamiliar with the Bay Area’s metal history, this list isn’t meant to inspire the purchase of a denim vest and crude drawings of the group’s logos on the back with a Sharpie. This list is to give these thrashers the props they deserve.\u003c/p>\n\u003ch2>1. \u003ca href=\"http://www.metallica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Metallica_logoSMALL.jpg\" alt=\"Metallica_logoSMALL\" width=\"209\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10834476\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew) \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of \u003cem>course\u003c/em> Metallica is first on this list. Whatever you think of their later entrance into pop music, Metallica’s first four albums are high water marks for heavy metal. Their first LP \u003ci>Kill ‘Em All\u003c/i> was released while the band was living in El Cerrito, and for many headbangers around the world it would be their introduction to Bay Area thrash.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are dozens of songs from Metallica’s early days that demonstrate their power at such an early age, so let’s start with the first track from \u003ci>Kill ‘Em All\u003c/i>, “Hit The Lights.” The song has melody, dynamics, and the use of echo and churning half-time rhythm in the chorus. It’s also contains Kirk Hammett’s exemplary solo work, groundbreaking in its own right; while Kerry King and Jeff Hanneman of Slayer re-wrote the book on guitar solos, turning them into exercises in technical ability (“Let’s see how many notes I can hit before I throw in a dive bomb!”), Hammett managed to stay referential to the work of guitar heroes like Uli Jon Roth and even Jimi Hendrix—but he played with breakneck speed to keep up with the tempo demands of thrash.\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/FTqaCHl5Ra4'\n title='//www.youtube.com/embed/FTqaCHl5Ra4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>2. \u003ca href=\"http://exodusattack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/exodus-logoSMALL.jpg\" alt=\"exodus-logoSMALL\" width=\"205\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834560\" class=\"wp-caption alignright\" style=\"max-width: 686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10834560\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg\" alt=\"Exodus playing live at Ruthie's Inn, Berkeley, in1984. (Photo by Brian Lew)\" width=\"686\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg 686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683-400x250.jpg 400w\" sizes=\"(max-width: 686px) 100vw, 686px\">\u003cfigcaption class=\"wp-caption-text\">Exodus playing live at Ruthie’s Inn, Berkeley, in 1984. (Photo by Brian Lew)\u003c/figcaption>\u003c/figure>\n\u003cp>When music nerds talk about thrash, they usually reference “\u003ca href=\"http://www.nytimes.com/2011/09/16/arts/music/music-review-big-four-with-anthrax-megadeth-slayer-and-metallica.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Big Four\u003c/a>”: Metallica, Slayer, Anthrax and Megadeth. But if a fifth band could be added, it would certainly be Exodus. Founded in 1980 by Hammett (before he joined Metallica) and drummer Tom Hunting, Exodus eventually found its stride with the additions of singer Paul Baloff and guitar shredder Gary Holt, who would become the group’s mastermind over its next three decades of existence. (Holt would later join Slayer, replacing Oakland-born guitarist Hanneman after his \u003ca href=\"http://www.rollingstone.com/music/news/slayer-guitarist-jeff-hanneman-died-of-alcohol-related-cirrhosis-20130510\" target=\"_blank\" rel=\"noopener noreferrer\">untimely death in 2013\u003c/a>.)\u003c/p>\n\u003cp>When it came to sound, Exodus shared more with Slayer than their Bay Area brethren Metallica, and that continues to be true to this day (they would later add touches of Pantera to the mix as well). But their debut album \u003ci>Bonded By Blood\u003c/i> is a stone-cold thrash classic, and if it had been released the same year as \u003ci>Kill ‘Em All\u003c/i>, as intended, it’s almost certain that Exodus would’ve seen similar success.\u003c/p>\n\u003cp>Sadly, the album was held up by the record label, and was marred by the reverb-laden production so common on early ’80s metal records—which is probably why the band re-recorded it in 2008 as \u003ci>Let There Be Blood\u003c/i> with third singer Rob Dukes at the helm. (Exodus recently reunited with their second and longest-running frontman, Steve “Zetro” Souza.) But tracks like “A Lesson In Violence” have a undeniable power, owing in no small part to the vocal work of Baloff. Sadly, Baloff was struck down by a stroke in 2002, which led to his death at the age of 41.\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/c0Kvzrxtwq8'\n title='//www.youtube.com/embed/c0Kvzrxtwq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3. \u003ca href=\"https://www.facebook.com/666possessed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/possessedSMALL.gif\" alt=\"possessedSMALL\" width=\"185\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835073\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10835073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg\" alt=\"Possessed (Courtesy of Possessed's Facebook Page)\" width=\"600\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB-400x264.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Possessed (Courtesy of Possessed’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>There’s long been a common misconception that the subgenre of death metal was started by the Florida band Death. Yet it was El Sobrante’s Possessed whose 1984 demo \u003ci>Death Metal\u003c/i> would not only enter the phrase into the metal lexicon—it would come to literally define the music, described as an “extreme subgenre of heavy metal” by \u003ca href=\"https://en.wikipedia.org/wiki/Death_metal\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia\u003c/a>. Possessed’s songs were extreme indeed—punishingly fast, full of rapid-fire riffs, blasting drum beats and guttural vocals, and lyrics about the evilest of evil themes: violence and Satan.\u003c/p>\n\u003cp>Despite having the distinct honor of inspiring a new subgenre with \u003ci>Death Metal\u003c/i> and the LP \u003ci>Seven Churches\u003c/i>, by the band’s second album they had dropped their signature sound, thereby alienating fans. It wouldn’t be long after the second LP that the band would break up. Guitarist Larry LaLonde would go on to play with Primus, while singer/bassist Jeff Becerra became paralyzed from the waist down in a shooting incident. But Possessed’s status as death metal progenitors continued to garner the band a following, inspiring the wheelchair-bound Becerra to start playing shows as Possessed with new members. The obvious pick for a highlight track would be one of their hits—”The Exorcist” or “Death Metal”—but we’re going with another jam off \u003ci>Seven Churches\u003c/i>, “Satan’s Curse,” which is more representative of the death metal that was to come.\u003c/p>\n\u003cp>\u003cb>Update:\u003c/b> Becerra reached out to KQED after this article was published to explain the issue with the second Possessed album, \u003ci>Beyond The Gates\u003c/i>:\u003c/p>\n\u003cp>“How the story goes is that Carl (producer/ex-Rods) f–ed up the final mix so that the sound suffered and differed greatly from how we originally mixed it, which was MUCH heavier, with the guitars a LOT more distorted. But in the end BTG is still probably the best written and one of the most liked of our albums. This is the album where we gave Larry his first opportunity to write some of the songs and also gave us a chance to put something more into our music.\u003c/p>\n\u003cp>“In fact we sold more copies of the second album than the first and to this day it is a favorite of many Possessed fans. And to be honest today I am playing to larger audiences than ever and getting a lot of requests for Beyond The Gates material.”\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/duGLuv3N1P8'\n title='//www.youtube.com/embed/duGLuv3N1P8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>4. \u003ca href=\"http://www.deathangel.us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/deathangellogoSMALL.gif\" alt=\"deathangellogoSMALL\" width=\"180\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-800x533.jpg\" alt=\"http://www.ckshotz.com/\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Cavestany (left), founding member of Death Angel, playing in 2013 (Photo by Chris Kentzell/\u003ca href=\"http://www.ckshotz.com\" target=\"_blank\" rel=\"noopener noreferrer\">CKShotz.com\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, four Filipino kids from Concord who were barely in their teens started a band in the vein of the New Wave of British Heavy Metal (NWOBHM) that had made its way overseas. The following year, Death Angel went into the studio to record their first demo, \u003ca href=\"https://www.youtube.com/watch?v=oohl7ICF2Kg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Heavy Metal Insanity\u003c/i>\u003c/a>—a rough-around-the-edges debut from a group of kids who weren’t even old enough to drive to a gig.\u003c/p>\n\u003cp>Death Angel then added a singer, former roadie Mark Osegueda, and a chance meeting with Metallica’s Hammett led to the legendary shredder recording their demo \u003ca href=\"https://www.youtube.com/watch?v=252MSq5F6-k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Kill As One.\u003c/i> \u003c/a>That resulted in a record deal with Engima Records, the release of landmark thrash albums \u003ci>The Ultra-Violence\u003c/i> and \u003ci>Frolic Through The Park\u003c/i>, and the band touring the globe before they were old enough to legally drink. Almost 30 years later, the band is still playing with Osegueda at the mic and founding member Rob Cavestany still on lead guitar.\u003c/p>\n\u003cp>Though the band’s track “Thrashers,” an ode to metal music and its fans, would be apt, we instead present the video for “Voracious Souls,” which was reportedly banned from MTV for its lyrical content and was shot right here in the Bay Area.\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/YjQjLLxWKCk'\n title='//www.youtube.com/embed/YjQjLLxWKCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>5. \u003ca href=\"http://www.testamentlegions.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-logoSMALL.jpg\" alt=\"Testament-logoSMALL\" width=\"176\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg\" alt=\"Testament back in the day. (Courtesy of Testament's Facebook Page)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Testament back in the day. (Courtesy of Testament’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>Last but not least is Testament, who started performing in Berkeley under the moniker The Legacy back in 1983. When singer Chuck Billy joined the group in 1986, the band changed their name, upped their game and became one of the scene’s best groups.\u003c/p>\n\u003cp>Testament is another band that still plays today, and has managed to keep a large, dedicated following thanks to their consistent output. Lead guitarist and songwriter Alex Skolnick, a student of Joe Satriani, filled each Testament album with furious, head-banging songs, but he managed to sneak in actual melodies as well. As for a representative track, “Practice What You Preach” off the 1989 album of the same name is packed so full of killer riffs it should be declared lethal. But we’re going with “Over the Wall,” from their first album, 1987’s \u003ci>The Legacy\u003c/i>. Not only was it filmed on Alcatraz Island, it also shows Testament as a bunch of young, pimply-faced thrashers.\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/ITWXnzcQFV4'\n title='//www.youtube.com/embed/ITWXnzcQFV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are plenty other bands worth noting from the Bay Area metal scene—sadly, we couldn’t include other amazing thrash bands such as Vio-Lence or crossover groups like Attitude Adjustment—and feel free to add your favorites below in the comments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Thank you to Brian Lew for use of his photos, more of which can be seen in his book \u003ca href=\"http://www.bazillionpoints.com/shop/murder-in-the-front-row-by-brian-umlaut-lew-harald-o-oimoen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>Murder In The Front Row.\u003c/b>\u003c/a> Also, thanks to Jon “Quitty” Quittner for giving the “\u003ca href=\"http://hesherobsesher.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hessian Obsession\u003c/a>” umlaut of approval on this list.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
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