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"content": "\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265559\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EP5McgAsOCJtUTxit2gP40ZyCtaBzMSt\"]\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SMBzNtzAsYw&feature=youtu.be\u003c/p>\n\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\u003c/p>\n\u003cp>\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/217265559&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/217265559'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\u003c/p>\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/SMBzNtzAsYw'\n title='//www.youtube.com/embed/SMBzNtzAsYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My favorite celebrity couple (after Winona Ryder and Johnny Depp of course) is Gwen Stefani and Gavin Rossdale. They met on tour in 1995 and became the prom king and queen of a certain branch of popular music. Then, they broke up and Gwen wrote blistering breakup songs like this one:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Yqru5UXWGY\u003c/p>\n\u003cp>\"I kinda always knew I'd end up your ex-girlfriend. I hope I hold a special place with the rest of them,\" Gwen spat.\u003c/p>\n\u003cp>But they got back together! And got married in 2002! And had three kids! And all the other sad songs from No Doubt's \u003cem>Return of Saturn\u003c/em> about Gavin became nothing more than neat little relics of a moment in time when the star-crossed Gwen and Gavin were briefly, wrongly apart.\u003c/p>\n\u003cp>Unfortunately, according to TMZ, destiny is taking back this particular happily ever after, as Gwen and Gavin have \u003ca href=\"http://www.tmz.com/2015/08/03/gwen-stefani-files-for-divorce-gavin-rossdale/\" target=\"_blank\">filed for divorce\u003c/a>. This is the music world's version of Amy Poehler and Will Arnett.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What to do with this information? Wallow for an unhealthy amount of time, duh.\u003c/p>\n\u003cp>You could look up old photos of them hugging and kissing and stuff (although I just did this and can't recommend it).\u003c/p>\n\u003cp>You could listen to Gwen sing about how she loves Gavin so much that she wants to wash in his bathwater:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8k_g9hDeOic\u003c/p>\n\u003cp>You could watch Gwen run around distraught in a wedding dress, as she sings about how much she wishes she could marry Gavin:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kRpZJ9EgJho\u003c/p>\n\u003cp>Or, even though it's not about him, you could listen to one of the best breakup songs ever:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TR3Vdo5etCQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>R.I.P. Gwen and Gavin. Your candle burned out long before your legend ever did.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My favorite celebrity couple (after Winona Ryder and Johnny Depp of course) is Gwen Stefani and Gavin Rossdale. They met on tour in 1995 and became the prom king and queen of a certain branch of popular music. Then, they broke up and Gwen wrote blistering breakup songs like this one:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8Yqru5UXWGY'\n title='//www.youtube.com/embed/8Yqru5UXWGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I kinda always knew I'd end up your ex-girlfriend. I hope I hold a special place with the rest of them,\" Gwen spat.\u003c/p>\n\u003cp>But they got back together! And got married in 2002! And had three kids! And all the other sad songs from No Doubt's \u003cem>Return of Saturn\u003c/em> about Gavin became nothing more than neat little relics of a moment in time when the star-crossed Gwen and Gavin were briefly, wrongly apart.\u003c/p>\n\u003cp>Unfortunately, according to TMZ, destiny is taking back this particular happily ever after, as Gwen and Gavin have \u003ca href=\"http://www.tmz.com/2015/08/03/gwen-stefani-files-for-divorce-gavin-rossdale/\" target=\"_blank\">filed for divorce\u003c/a>. This is the music world's version of Amy Poehler and Will Arnett.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What to do with this information? Wallow for an unhealthy amount of time, duh.\u003c/p>\n\u003cp>You could look up old photos of them hugging and kissing and stuff (although I just did this and can't recommend it).\u003c/p>\n\u003cp>You could listen to Gwen sing about how she loves Gavin so much that she wants to wash in his bathwater:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8k_g9hDeOic'\n title='//www.youtube.com/embed/8k_g9hDeOic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You could watch Gwen run around distraught in a wedding dress, as she sings about how much she wishes she could marry Gavin:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kRpZJ9EgJho'\n title='//www.youtube.com/embed/kRpZJ9EgJho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or, even though it's not about him, you could listen to one of the best breakup songs ever:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TR3Vdo5etCQ'\n title='//www.youtube.com/embed/TR3Vdo5etCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>R.I.P. Gwen and Gavin. Your candle burned out long before your legend ever did.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In East Palo Alto, a Rap Duo's New Chapter Begins",
"headTitle": "In East Palo Alto, a Rap Duo’s New Chapter Begins | KQED",
"content": "\u003cp>For Band Aide, one half of East Palo Alto-based rap duo Hoodstarz, 2012 was a year of dramatic change. There came freedom: after an 18-month stint in San Francisco County Jail and a halfway house, he was finally free to return to his life and family.\u003c/p>\n\u003cp>But there was also tragedy. That same year, his stepbrother was shot and killed. The event admittedly had Band Aide “kind of going haywire,” and he knew he needed a change of pace.\u003c/p>\n\u003cp>Instead of jumping back into the music he and partner Scoot Dogg had been creating for nearly a decade (they were among the leading voices of the mid-2000s \u003ca href=\"https://en.wikipedia.org/wiki/Hyphy\" target=\"_blank\" rel=\"noopener\">hyphy scene\u003c/a>), he decided to take a step back and hone a new craft. After enrolling in a one-year program at \u003ca href=\"http://www.chefs.edu/\" target=\"_blank\" rel=\"noopener\">Le Cordon Bleu\u003c/a>, he dedicated himself to becoming a chef.\u003c/p>\n\u003cp>Once he completed eight months of formal study and four months as a line chef at Los Altos Golf and Country Club, Band Aide graduated from the culinary institution, a fascinating next step for the rapper — and one Band Aide admits he needed.\u003c/p>\n\u003cp>“I [cook] to get away from a lot of the madness,” he explains. “I try to practice my four T’s: Take Time to Think,” and points out that shifting his focus from rapping to cooking “gave me a lot of time to think about what I wanted to do and how I wanted to do it, to get my priorities back in order… It’s definitely an art I can have and take with me forever, no matter how old I get. As long as I’m able to move around, I’ll always be able to cook.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While his time at Le Cordon Bleu granted him some time away from beats and rhymes, his focus has since returned to music — he and fellow Hoodstarz member Scoot Dogg have been busy independently promoting their mixtape \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em> since last November. But he’s still been able to put his culinary skills to good use. As he notes recently over hearty portions of Mexican food at El Burro in Campbell, he’s now able to better cook for “my peoples.”\u003c/p>\n\u003cp>He’s talking about the 20 people he and his wife, Tannea Gardner, oversee as part of their nonprofit, A Gardner’s Heart Independent Living, which supplies housing and services to mental health patients. What started with a single patient in a rented home nearly five years ago has since blossomed to three homes in the East Bay.\u003c/p>\n\u003cp>“Our main goal is to help them stay out of a hospital, to keep them positive and away from the dangers that come with being a mental health patient,” explains Tannea Gardner. Services include taking care of meals, transportation, case management, help with doctor’s appointments and day-to-day living.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note: embedded videos contain explicit language.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/O4SceLSPfno\u003c/p>\n\u003cp>Though Band Aide served time for a marijuana-related charge, he was initially arraigned as part of an arrest of 30 suspected members of a Bay Area gang known as the Taliban. He contends he didn’t know most of the other suspects arrested as part of the same sweep. His release was unexpected — before he earned probation, he’d last heard he was set to serve 20 years.\u003c/p>\n\u003cp>Thinking back on his time away from music and family, he’s quick to admit that “I wasn’t thinking about rapping. That was the furthest thing from my mind. I was thinking about getting back to my family” — though he adds that “once I got home, it was back to business, and back to music.”\u003c/p>\n\u003cp>This past November, the Hoodstarz finally returned in earnest with \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em>, hosted by the influential DJ Drama. Their latest covers everything from turn-up club bangers to introspective takes on the pain both endured during that long period of silence.\u003c/p>\n\u003cp>Band Aide and Scoot Dogg fully embraced their project as a chance to start fresh. Every piece of the project was created from scratch rather than mining past material. They even went so far as to both shed their long-held dreadlocks.\u003c/p>\n\u003cp>“For so long, we had to hold our tongues, whether it was music or talking in public — even talking to our own loved ones,” says Scoot about dealing with Band Aide’s sentencing and litigation. While releases did trickle out during his stint, Scoot says they were watered-down. \u003cem>56 Months\u003c/em> was their chance to speak again without a filter.\u003c/p>\n\u003cp>Though they started in separate groups — Band Aide was formerly part of Neva Legal; while Scoot was in Totally Insane, the founding fathers of East Palo Alto rap — they formally joined forces in the early 2000s, gaining attention with their 2004 single “Can’t Leave Rap Alone” featuring Keak Da Sneak, originator of the term “hyphy” and a major presence in the Bay’s subsequent hyphy movement.\u003c/p>\n\u003cp>Hoodstarz furthered their own mark on that scene with the release of their full-length debut, \u003cem>Hood Reality\u003c/em>, in January 2006. Their buzz continued to grow when major label Warner picked up sophomore effort Band Aide and Scoot, which dropped in September that same year. It notably featured the remix to “Getz Ya Grown Man On,” which became a signature hit of the hyphy era and featured a who’s who of Bay heavyweights at the time, including Mistah F.A.B., San Quinn, Clyde Carson and Turf Talk and production by Traxamillion.\u003c/p>\n\u003cp>\u003cem>Controversy\u003c/em> and \u003cem>Hoodstarz Radio\u003c/em> followed in 2010 and 2011 respectively, though neither were able to further the group’s momentum in the wake of hyphy falling out of style. For the genre, national fame proved elusive outside of E-40’s “Tell Me When to Go” and Too Short’s “Blow the Whistle.”\u003c/p>\n\u003cp>https://youtu.be/wWUL-BwO0CQ\u003c/p>\n\u003cp>Unlike other names from the hyphy era, the Hoodstarz may be the only group to hail from tiny East Palo Alto, the oft-overlooked community of roughly 28,000 located right in the middle of a now-thriving Silicon Valley and next door to world-renowned Stanford University. But the town has never been able to enjoy the same success that surrounds it. In 1992, the city earned the unfortunate distinction of being named the city with the highest homicide rate in the nation.\u003c/p>\n\u003cp>Scoot and Band Aide grew up in the middle of it — and got caught up. Before his recent jail sentence, Band Aide spent five years at San Quentin State Prison, and was released in 2002. Scoot went through similar tribulations, spending 18 months in a juvenile correctional facility. Having seen the consequences that come with street life, they both committed to a better future by pursuing music full-time, even though it’s not easy.\u003c/p>\n\u003cp>“Coming out of there and trying to do some music, or anything else, was a difficult task,” says Scoot Dogg, who points to difficulties of building a sustainable buzz within a town that only encompasses two and a half square miles. “Even if everybody in East Palo Alto bought a Hoodstarz CD, it wouldn’t be enough. It wouldn’t be more than half of Oakland or a piece of San Francisco or a quarter of San Jose.”\u003c/p>\n\u003cp>While pondering their next steps, the two met DJ Drama through a mutual friend at a party in Los Angeles. A towering figure in the hip-hop community, DJ Drama was instrumental in the mainstream rise of Southern hip-hop in the mid to late 2000s; with his mixtapes, he helped launch the careers of artists like T.I., Young Jeezy, Gucci Mane and Lil’ Wayne. Drama agreed to release \u003cem>56 Months\u003c/em> as part of his celebrated Gangsta Grillz series, a high-profile way for the Hoodstarz to reintroduce themselves.\u003c/p>\n\u003cp>“When a lot of the stuff was really going on with us and we couldn’t say too much or put music out, we were only able to put out music that was basically picked over,” adds Scoot Dogg. “[With] \u003cem>56 Months, \u003c/em>we got our freedom back.”\u003c/p>\n\u003cp>https://youtu.be/2Z5gWkDwMZQ\u003c/p>\n\u003cp>The release has been a success, and though mixtape stats are notoriously hard to track, it’s received more than 150,000 plays since its release. It enlists help from current industry heavyweights as well as local standouts — DJ Mustard and Ty Dolla $ign both make appearances, in addition to the Bay Area’s Too Short, Mistah F.A.B, J. Stalin and Clyde Carson.\u003c/p>\n\u003cp>The 18-track project tackles plenty during its 65-minute run time. Darker themes undercut brooding tracks like “Dope Fiend Music” and “Nobody’s Safe,” alongside party tracks like “Kush Clouds” and moments of nervous catharsis on “Feared than Loved.” Certain tracks carry a powerful duality, pairing pent-up frustration with the relief of regained self-expression.\u003c/p>\n\u003cp>On album standout “I’ll Be Right There,” Mike Frost brings the topic of loyalty front and center, singing “I still remember yesterday when we ain’t have a dime / So if you ever call on me, I’ll be right there” during the track’s chorus.\u003c/p>\n\u003cp>While certain songs on \u003cem>56 Months\u003c/em> mention those who turned their backs, both members also recall the outpouring of support they received when they finally got back to work. In particular, the two shout-out Oakland production duo the Mekanix, long-time collaborators who had a hand in 10 of the album’s 18 beats. Band Aide notes that they were “brothers when brothers needed brothers.”\u003c/p>\n\u003cp>While he and partner Scoot may have have dealt with plenty of setbacks over the past few years, he recognizes the success they’ve enjoyed as recording artists. They emerged from the streets of East Palo Alto, and with each new project they continue to stand as examples of success in their community.\u003c/p>\n\u003cp>“Even if we didn’t make it as big as we always dreamed of making it, we still made it further than a lot of people,” he says. “It’s hard for me to hold a smile, but I do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>’56 Months,’ hosted by DJ Drama, is available for purchase via \u003ca href=\"https://itunes.apple.com/us/album/dj-drama-presents-56-months/id923640146\">iTunes \u003c/a>or download via \u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\">LiveMixtapes\u003c/a>. For more information on the Hoodstarz, visit \u003ca href=\"http://www.thehoodstarz.info/\">thehoodstarz.info\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Hoodstarz weathered jail sentences, death in the family and the collapse of hyphy; now, with a culinary degree and a mental-health services nonprofit, its members return with '56 Months.'",
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"description": "The Hoodstarz weathered jail sentences, death in the family and the collapse of hyphy; now, with a culinary degree and a mental-health services nonprofit, its members return with '56 Months.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Band Aide, one half of East Palo Alto-based rap duo Hoodstarz, 2012 was a year of dramatic change. There came freedom: after an 18-month stint in San Francisco County Jail and a halfway house, he was finally free to return to his life and family.\u003c/p>\n\u003cp>But there was also tragedy. That same year, his stepbrother was shot and killed. The event admittedly had Band Aide “kind of going haywire,” and he knew he needed a change of pace.\u003c/p>\n\u003cp>Instead of jumping back into the music he and partner Scoot Dogg had been creating for nearly a decade (they were among the leading voices of the mid-2000s \u003ca href=\"https://en.wikipedia.org/wiki/Hyphy\" target=\"_blank\" rel=\"noopener\">hyphy scene\u003c/a>), he decided to take a step back and hone a new craft. After enrolling in a one-year program at \u003ca href=\"http://www.chefs.edu/\" target=\"_blank\" rel=\"noopener\">Le Cordon Bleu\u003c/a>, he dedicated himself to becoming a chef.\u003c/p>\n\u003cp>Once he completed eight months of formal study and four months as a line chef at Los Altos Golf and Country Club, Band Aide graduated from the culinary institution, a fascinating next step for the rapper — and one Band Aide admits he needed.\u003c/p>\n\u003cp>“I [cook] to get away from a lot of the madness,” he explains. “I try to practice my four T’s: Take Time to Think,” and points out that shifting his focus from rapping to cooking “gave me a lot of time to think about what I wanted to do and how I wanted to do it, to get my priorities back in order… It’s definitely an art I can have and take with me forever, no matter how old I get. As long as I’m able to move around, I’ll always be able to cook.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While his time at Le Cordon Bleu granted him some time away from beats and rhymes, his focus has since returned to music — he and fellow Hoodstarz member Scoot Dogg have been busy independently promoting their mixtape \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em> since last November. But he’s still been able to put his culinary skills to good use. As he notes recently over hearty portions of Mexican food at El Burro in Campbell, he’s now able to better cook for “my peoples.”\u003c/p>\n\u003cp>He’s talking about the 20 people he and his wife, Tannea Gardner, oversee as part of their nonprofit, A Gardner’s Heart Independent Living, which supplies housing and services to mental health patients. What started with a single patient in a rented home nearly five years ago has since blossomed to three homes in the East Bay.\u003c/p>\n\u003cp>“Our main goal is to help them stay out of a hospital, to keep them positive and away from the dangers that come with being a mental health patient,” explains Tannea Gardner. Services include taking care of meals, transportation, case management, help with doctor’s appointments and day-to-day living.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note: embedded videos contain explicit language.\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O4SceLSPfno'\n title='//www.youtube.com/embed/O4SceLSPfno'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though Band Aide served time for a marijuana-related charge, he was initially arraigned as part of an arrest of 30 suspected members of a Bay Area gang known as the Taliban. He contends he didn’t know most of the other suspects arrested as part of the same sweep. His release was unexpected — before he earned probation, he’d last heard he was set to serve 20 years.\u003c/p>\n\u003cp>Thinking back on his time away from music and family, he’s quick to admit that “I wasn’t thinking about rapping. That was the furthest thing from my mind. I was thinking about getting back to my family” — though he adds that “once I got home, it was back to business, and back to music.”\u003c/p>\n\u003cp>This past November, the Hoodstarz finally returned in earnest with \u003cem>\u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\" target=\"_blank\" rel=\"noopener\">56 Months\u003c/a>\u003c/em>, hosted by the influential DJ Drama. Their latest covers everything from turn-up club bangers to introspective takes on the pain both endured during that long period of silence.\u003c/p>\n\u003cp>Band Aide and Scoot Dogg fully embraced their project as a chance to start fresh. Every piece of the project was created from scratch rather than mining past material. They even went so far as to both shed their long-held dreadlocks.\u003c/p>\n\u003cp>“For so long, we had to hold our tongues, whether it was music or talking in public — even talking to our own loved ones,” says Scoot about dealing with Band Aide’s sentencing and litigation. While releases did trickle out during his stint, Scoot says they were watered-down. \u003cem>56 Months\u003c/em> was their chance to speak again without a filter.\u003c/p>\n\u003cp>Though they started in separate groups — Band Aide was formerly part of Neva Legal; while Scoot was in Totally Insane, the founding fathers of East Palo Alto rap — they formally joined forces in the early 2000s, gaining attention with their 2004 single “Can’t Leave Rap Alone” featuring Keak Da Sneak, originator of the term “hyphy” and a major presence in the Bay’s subsequent hyphy movement.\u003c/p>\n\u003cp>Hoodstarz furthered their own mark on that scene with the release of their full-length debut, \u003cem>Hood Reality\u003c/em>, in January 2006. Their buzz continued to grow when major label Warner picked up sophomore effort Band Aide and Scoot, which dropped in September that same year. It notably featured the remix to “Getz Ya Grown Man On,” which became a signature hit of the hyphy era and featured a who’s who of Bay heavyweights at the time, including Mistah F.A.B., San Quinn, Clyde Carson and Turf Talk and production by Traxamillion.\u003c/p>\n\u003cp>\u003cem>Controversy\u003c/em> and \u003cem>Hoodstarz Radio\u003c/em> followed in 2010 and 2011 respectively, though neither were able to further the group’s momentum in the wake of hyphy falling out of style. For the genre, national fame proved elusive outside of E-40’s “Tell Me When to Go” and Too Short’s “Blow the Whistle.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wWUL-BwO0CQ'\n title='//www.youtube.com/embed/wWUL-BwO0CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike other names from the hyphy era, the Hoodstarz may be the only group to hail from tiny East Palo Alto, the oft-overlooked community of roughly 28,000 located right in the middle of a now-thriving Silicon Valley and next door to world-renowned Stanford University. But the town has never been able to enjoy the same success that surrounds it. In 1992, the city earned the unfortunate distinction of being named the city with the highest homicide rate in the nation.\u003c/p>\n\u003cp>Scoot and Band Aide grew up in the middle of it — and got caught up. Before his recent jail sentence, Band Aide spent five years at San Quentin State Prison, and was released in 2002. Scoot went through similar tribulations, spending 18 months in a juvenile correctional facility. Having seen the consequences that come with street life, they both committed to a better future by pursuing music full-time, even though it’s not easy.\u003c/p>\n\u003cp>“Coming out of there and trying to do some music, or anything else, was a difficult task,” says Scoot Dogg, who points to difficulties of building a sustainable buzz within a town that only encompasses two and a half square miles. “Even if everybody in East Palo Alto bought a Hoodstarz CD, it wouldn’t be enough. It wouldn’t be more than half of Oakland or a piece of San Francisco or a quarter of San Jose.”\u003c/p>\n\u003cp>While pondering their next steps, the two met DJ Drama through a mutual friend at a party in Los Angeles. A towering figure in the hip-hop community, DJ Drama was instrumental in the mainstream rise of Southern hip-hop in the mid to late 2000s; with his mixtapes, he helped launch the careers of artists like T.I., Young Jeezy, Gucci Mane and Lil’ Wayne. Drama agreed to release \u003cem>56 Months\u003c/em> as part of his celebrated Gangsta Grillz series, a high-profile way for the Hoodstarz to reintroduce themselves.\u003c/p>\n\u003cp>“When a lot of the stuff was really going on with us and we couldn’t say too much or put music out, we were only able to put out music that was basically picked over,” adds Scoot Dogg. “[With] \u003cem>56 Months, \u003c/em>we got our freedom back.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2Z5gWkDwMZQ'\n title='//www.youtube.com/embed/2Z5gWkDwMZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The release has been a success, and though mixtape stats are notoriously hard to track, it’s received more than 150,000 plays since its release. It enlists help from current industry heavyweights as well as local standouts — DJ Mustard and Ty Dolla $ign both make appearances, in addition to the Bay Area’s Too Short, Mistah F.A.B, J. Stalin and Clyde Carson.\u003c/p>\n\u003cp>The 18-track project tackles plenty during its 65-minute run time. Darker themes undercut brooding tracks like “Dope Fiend Music” and “Nobody’s Safe,” alongside party tracks like “Kush Clouds” and moments of nervous catharsis on “Feared than Loved.” Certain tracks carry a powerful duality, pairing pent-up frustration with the relief of regained self-expression.\u003c/p>\n\u003cp>On album standout “I’ll Be Right There,” Mike Frost brings the topic of loyalty front and center, singing “I still remember yesterday when we ain’t have a dime / So if you ever call on me, I’ll be right there” during the track’s chorus.\u003c/p>\n\u003cp>While certain songs on \u003cem>56 Months\u003c/em> mention those who turned their backs, both members also recall the outpouring of support they received when they finally got back to work. In particular, the two shout-out Oakland production duo the Mekanix, long-time collaborators who had a hand in 10 of the album’s 18 beats. Band Aide notes that they were “brothers when brothers needed brothers.”\u003c/p>\n\u003cp>While he and partner Scoot may have have dealt with plenty of setbacks over the past few years, he recognizes the success they’ve enjoyed as recording artists. They emerged from the streets of East Palo Alto, and with each new project they continue to stand as examples of success in their community.\u003c/p>\n\u003cp>“Even if we didn’t make it as big as we always dreamed of making it, we still made it further than a lot of people,” he says. “It’s hard for me to hold a smile, but I do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>’56 Months,’ hosted by DJ Drama, is available for purchase via \u003ca href=\"https://itunes.apple.com/us/album/dj-drama-presents-56-months/id923640146\">iTunes \u003c/a>or download via \u003ca href=\"http://www.livemixtapes.com/mixtapes/31093/the-hoodstarz-56-months.html\">LiveMixtapes\u003c/a>. For more information on the Hoodstarz, visit \u003ca href=\"http://www.thehoodstarz.info/\">thehoodstarz.info\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reggie Watts, Man of Many Voices, Improvised His Way to Success",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BdHK_r9RXTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco punk band Flipper, once described by Henry Rollins as being “heavier than anything,” announced Friday that they will reunite for a series of shows this fall with a new singer: former Jesus Lizard frontman David Yow.\u003c/p>\n\u003cp>The band will tour Italy in November with Yow, and will possibly play shows in San Francisco and Los Angeles with this lineup around the same time, according to drummer Stephen DePace.\u003c/p>\n\u003cp>Started in 1979 by former members of local punk band Negative Trend, Flipper became the scourge of the early ’80s punk scene, refusing to follow the pack of fast-and-violent hardcore bands of the day. Instead, the band made its reputation as being the band punks loved to hate by playing long, slow dirges that were driven by bass riffs, DePace’s plodding drums and Ted Falconi’s out-of-control guitar sound. Their sound would influence bands like Nirvana and the Melvins, and they would later be referred to as the godfathers of grunge music.\u003c/p>\n\u003cp>The band broke up in 1987 after bassist Will Shatter died of a drug overdose, but reunited in 1990 with new bassist John Dougherty just as grunge was about to break into the mainstream. Two years later they were signed to Def American Records by founder and massive Flipper fan \u003ca href=\"https://en.wikipedia.org/wiki/Rick_Rubin\" target=\"_blank\" rel=\"noopener\">Rick Rubin\u003c/a>; around the same time Nirvana’s Kurt Cobain would be photographed wearing a homemade Flipper t-shirt, sparking a renewed interest in the band. \u003c/p>\n\u003cp>The band released their comeback album \u003ci>American Graffishy\u003c/i> in 1993, but a car accident the following year broke singer Bruce “Loose” Calderwood’s back, forcing the band to abruptly end. In 2005, the band reunited again with longtime backup bassist Bruno DeSmartass — DePace says Dougherty died of a drug overdose in 1995 — and played several high profile shows before DeSmartass dropped out and was replaced by Nirvana bassist Krist Novoselic. Flipper would go onto to record two albums with Novoselic: 2009’s \u003ci>Love\u003c/i> and the live album \u003ci>Fight.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to spinal surgery, Calderwood had been able to keep up with the band’s taxing tour schedule around that time, but another back injury in late 2009 made playing regularly difficult again.\u003c/p>\n\u003cp>DePace says that a promoter in Italy reached out to the group earlier this year about playing three shows there in November, but Calderwood’s back issues were impossible for the singer to overcome. Unable to give up on the idea, DePace says inspiration struck early this month when at a Chrome show in Los Angeles, Yow joined the legendary San Francisco group for a song.\u003c/p>\n\u003cp>“Then I saw David Yow with Chrome, and I was like, ‘Maybe I could ask him to do it?'” DePace says. “He was really into it; he said he was honored to be asked.”\u003c/p>\n\u003cp>Now a working actor and painter, Yow spent many years fronting seminal post-punk bands Scratch Acid and the Jesus Lizard, who garnered reputation as a mammoth live band, due in part to Yow’s nonstop stage-diving. (Watch Jesus Lizard perform “Monkey Trick” at CBGB’s in 1992 \u003ca href=\"https://www.youtube.com/watch?v=hX0iY183ecM\" target=\"_blank\" rel=\"noopener\">on YouTube.\u003c/a>)\u003c/p>\n\u003cp>The band will begin rehearsing in August without Yow, who lives in L.A., according to DePace. The full band should be practicing by September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the band’s official statement about Calderwood leaving the band and Yow replacing him:\u003c/i> \u003c/p>\n\u003cblockquote>\u003cp>Bruce Loose is retired from Flipper! He has suffered from a broken back since 1994. It has gotten to the point now where Bruce finds it impossible to continue with performing and touring.\u003c/p>\n\u003cp>We want to thank Bruce for being part of what was a hell of a run from 1979 to now!\u003c/p>\n\u003cp>With all the ups and downs and craziness that is all part of the punk rock package we managed to make “music history” with this band. For that and all the fun we had, we are eternally grateful.\u003c/p>\n\u003cp>Bruce is moving on to do solo projects and Ted Falconi along with Steve DePace are going to carry on with long time 5th Flipper, Bruno DeSmartass on bass and we will be performing 3 shows in Italy with David Yow, formerly of Scratch Acid and The Jesus Lizard.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco punk band Flipper, once described by Henry Rollins as being “heavier than anything,” announced Friday that they will reunite for a series of shows this fall with a new singer: former Jesus Lizard frontman David Yow.\u003c/p>\n\u003cp>The band will tour Italy in November with Yow, and will possibly play shows in San Francisco and Los Angeles with this lineup around the same time, according to drummer Stephen DePace.\u003c/p>\n\u003cp>Started in 1979 by former members of local punk band Negative Trend, Flipper became the scourge of the early ’80s punk scene, refusing to follow the pack of fast-and-violent hardcore bands of the day. Instead, the band made its reputation as being the band punks loved to hate by playing long, slow dirges that were driven by bass riffs, DePace’s plodding drums and Ted Falconi’s out-of-control guitar sound. Their sound would influence bands like Nirvana and the Melvins, and they would later be referred to as the godfathers of grunge music.\u003c/p>\n\u003cp>The band broke up in 1987 after bassist Will Shatter died of a drug overdose, but reunited in 1990 with new bassist John Dougherty just as grunge was about to break into the mainstream. Two years later they were signed to Def American Records by founder and massive Flipper fan \u003ca href=\"https://en.wikipedia.org/wiki/Rick_Rubin\" target=\"_blank\" rel=\"noopener\">Rick Rubin\u003c/a>; around the same time Nirvana’s Kurt Cobain would be photographed wearing a homemade Flipper t-shirt, sparking a renewed interest in the band. \u003c/p>\n\u003cp>The band released their comeback album \u003ci>American Graffishy\u003c/i> in 1993, but a car accident the following year broke singer Bruce “Loose” Calderwood’s back, forcing the band to abruptly end. In 2005, the band reunited again with longtime backup bassist Bruno DeSmartass — DePace says Dougherty died of a drug overdose in 1995 — and played several high profile shows before DeSmartass dropped out and was replaced by Nirvana bassist Krist Novoselic. Flipper would go onto to record two albums with Novoselic: 2009’s \u003ci>Love\u003c/i> and the live album \u003ci>Fight.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to spinal surgery, Calderwood had been able to keep up with the band’s taxing tour schedule around that time, but another back injury in late 2009 made playing regularly difficult again.\u003c/p>\n\u003cp>DePace says that a promoter in Italy reached out to the group earlier this year about playing three shows there in November, but Calderwood’s back issues were impossible for the singer to overcome. Unable to give up on the idea, DePace says inspiration struck early this month when at a Chrome show in Los Angeles, Yow joined the legendary San Francisco group for a song.\u003c/p>\n\u003cp>“Then I saw David Yow with Chrome, and I was like, ‘Maybe I could ask him to do it?'” DePace says. “He was really into it; he said he was honored to be asked.”\u003c/p>\n\u003cp>Now a working actor and painter, Yow spent many years fronting seminal post-punk bands Scratch Acid and the Jesus Lizard, who garnered reputation as a mammoth live band, due in part to Yow’s nonstop stage-diving. (Watch Jesus Lizard perform “Monkey Trick” at CBGB’s in 1992 \u003ca href=\"https://www.youtube.com/watch?v=hX0iY183ecM\" target=\"_blank\" rel=\"noopener\">on YouTube.\u003c/a>)\u003c/p>\n\u003cp>The band will begin rehearsing in August without Yow, who lives in L.A., according to DePace. The full band should be practicing by September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the band’s official statement about Calderwood leaving the band and Yow replacing him:\u003c/i> \u003c/p>\n\u003cblockquote>\u003cp>Bruce Loose is retired from Flipper! He has suffered from a broken back since 1994. It has gotten to the point now where Bruce finds it impossible to continue with performing and touring.\u003c/p>\n\u003cp>We want to thank Bruce for being part of what was a hell of a run from 1979 to now!\u003c/p>\n\u003cp>With all the ups and downs and craziness that is all part of the punk rock package we managed to make “music history” with this band. For that and all the fun we had, we are eternally grateful.\u003c/p>\n\u003cp>Bruce is moving on to do solo projects and Ted Falconi along with Steve DePace are going to carry on with long time 5th Flipper, Bruno DeSmartass on bass and we will be performing 3 shows in Italy with David Yow, formerly of Scratch Acid and The Jesus Lizard.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best songs released online this month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/July_Blogs_Pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halfway through the season, there are already some solid contenders for \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6620238/wiz-khalifa-see-you-again-no-1-song-of-the-summer\" target=\"_blank\" rel=\"noopener\">Song of the Summer\u003c/a> — there might even be a few in this batch. This month, we continue to track new music released online, cherry picking the very best for you. There’s new music from Beach House, Alice Glass of Crystal Castles, Chvchres and more.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Chili Town” – Hinds, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Oh Baby” – Micachu and the Shapes, \u003cem>Good Sad Happy Bad\u003c/em>\u003c/li>\n\u003cli>“Sparks” – Beach House, \u003cem>Depression Cherry\u003c/em>\u003c/li>\n\u003cli>“Norf Norf” – Vince Staples, \u003cem>Summertime ‘06\u003c/em>\u003c/li>\n\u003cli>“Everyday” – Diane Coffee, \u003cem>Everybody’s a Good Dog\u003c/em>\u003c/li>\n\u003cli>“Stillbirth” – Alice Glass, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Leave a Trace” – Chrvches, \u003cem>Every Open Eye\u003c/em>\u003c/li>\n\u003cli>“Gunga Din” – The Libertines, \u003cem>Anthem for Doomed Youth\u003c/em>\u003c/li>\n\u003cli>“That Kind of Girl” – All Dogs, \u003cem>Kicking Every Day\u003c/em>\u003c/li>\n\u003cli>“Book of Love” – Fraser A. Gorman, \u003cem>single\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best songs released online this month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/July_Blogs_Pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halfway through the season, there are already some solid contenders for \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6620238/wiz-khalifa-see-you-again-no-1-song-of-the-summer\" target=\"_blank\" rel=\"noopener\">Song of the Summer\u003c/a> — there might even be a few in this batch. This month, we continue to track new music released online, cherry picking the very best for you. There’s new music from Beach House, Alice Glass of Crystal Castles, Chvchres and more.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Chili Town” – Hinds, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Oh Baby” – Micachu and the Shapes, \u003cem>Good Sad Happy Bad\u003c/em>\u003c/li>\n\u003cli>“Sparks” – Beach House, \u003cem>Depression Cherry\u003c/em>\u003c/li>\n\u003cli>“Norf Norf” – Vince Staples, \u003cem>Summertime ‘06\u003c/em>\u003c/li>\n\u003cli>“Everyday” – Diane Coffee, \u003cem>Everybody’s a Good Dog\u003c/em>\u003c/li>\n\u003cli>“Stillbirth” – Alice Glass, \u003cem>single\u003c/em>\u003c/li>\n\u003cli>“Leave a Trace” – Chrvches, \u003cem>Every Open Eye\u003c/em>\u003c/li>\n\u003cli>“Gunga Din” – The Libertines, \u003cem>Anthem for Doomed Youth\u003c/em>\u003c/li>\n\u003cli>“That Kind of Girl” – All Dogs, \u003cem>Kicking Every Day\u003c/em>\u003c/li>\n\u003cli>“Book of Love” – Fraser A. Gorman, \u003cem>single\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
"title": "Black Love Festival Engages More Young People in Black Lives Matter",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The coldest summer music festival in the world returns to San Francisco next weekend. Over 100,000 people will trample their way through Golden Gate Park’s polo fields for the 8th annual \u003ca href=\"http://www.sfoutsidelands.com/\">Outside Lands\u003c/a>. And while the most important thing to do is \u003cdel>wear the cutest outfit possible!\u003c/del> enjoy the music, here’s a list of dos and don’ts to help you make the most of your weekend.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Wear Layers \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Outside Lands is just like Coachella, if you replace blistering heat and shirtless bros with smothering fog and fully clothed tech bros. As is the case with any outdoor activity in San Francisco, it’s essential to wear layers. While you may get greeted by the sun upon arrival, odds are the fog will blanket the venue by 5pm, leaving hordes of confused out-of-towners wondering what month it is. Don’t be a confused tourist! Wear layers. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T\u003c/b> \u003cb>Party Too Hard and Miss Your Favorite Band\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Many people like to party before they even get to Outside Lands. Others go too hard in the first few hours that they’re there. What all these people seem to forget is that the music doesn’t stop 'til around 10pm, so pace yourself, lest you black out during the headlining sets you paid good money to see. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Figure Out How You’re Getting Home\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You can take Muni to Outside Lands and get there quickly, but good luck getting home. As thousands of haggard zombies make their way out of the park, mayhem ensues. Muni lines leaving the park will be packed, but here’s an idea: Take a less crowded bus toward the ocean instead. Eventually it will turn around and you’ll actually have a seat. Another option: Take the South exit out of the festival, even if you’re trying to go north. Lincoln always seems less crowded than Fulton, so try walking up to Judah to take the N, or if you’re lucky, score an Uber or Lyft (but watch out for ridiculous surge pricing). \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON'T Expect Perfection \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Like most things in San Francisco, Outside Lands is far from perfect. But that’s okay, as long as you go in with the right expectations. In 2008, a train of fog nearly derailed Radiohead’s headlining set. And it’s pretty much a given that a few bands will arrive late, play truncated sets, or in some cases, \u003ca href=\"http://www.stereogum.com/1697598/chvrches-cancel-outside-lands-set-due-to-border-crossing-trouble/news/\">\u003cspan class=\"s3\">not show up at all\u003c/span>\u003c/a>. The sound isn’t always great either, especially when you watch from the sides. But, if you plant yourself near a speaker, things should be alright. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Bring Water \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You’re allowed to bring two factory-sealed water bottles (up to 1 liter each) through the gates. Save your money and spend it on better things, like… \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Craft Beer! \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Charging $10 for a Bud Light at a baseball game is larceny. Downing a nice craft beer while listening to great music is far more enjoyable. Over two dozen local breweries are represented at this year’s \u003ca href=\"http://www.sfoutsidelands.com/beer-lands\">\u003cspan class=\"s3\">Beer Lands\u003c/span>\u003c/a>. You’ll pay as much for one beer as you would a six-pack from the store, but at least it’ll taste good. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T\u003c/b> \u003cb>Go With A Big Group \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You will get lost. Hell, if you go with more than four people, you’ll likely get split up at some point during the day, only to realize your cellphones don’t really work, it’s suddenly 55 degrees out, and you left your jacket in Sarah’s backpack. It’s way more practical to go with a small group of close friends and meet up with people once you’re there, that way you can have a blast and not feel obligated to keep up with the pack. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Stumble Through McLaren Pass\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Sort of in the middle of everything but also incredibly easy to miss, McLaren Pass is home to carnies, chocolate, and GastroMagic. The latter is an underrated stage where chefs and audience members interact in a bizarre medley of sights, smells, and food demos. Last year, Brenda’s French Soul Food offered free beignets to anyone who twerked. You can check out this year’s lineup \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\">\u003cspan class=\"s3\">here\u003c/span>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T Bring A Selfie Stick \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Just don’t. Technically \u003ca href=\"http://www.sfoutsidelands.com/festival-info/entry\">they’re allowed\u003c/a>, but that doesn’t mean you should have one. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Find The Shortest Porta Potty Lines \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">There are a lot of Porta Pottys at Outside Lands. There are also a lot of Porta Potty lines. Less trafficked bathroom spots include: The tree-covered Porta Pottys on your right, if you’re walking toward Twin Peaks Stage from Lands End Stage, and the ones tucked behind McLaren Pass if you’re headed toward Sutro Stage. Memorize all the tiny blue squares on \u003ca href=\"http://www.sfoutsidelands.com/sites/default/files/content-files/files/OL14_FestivalMap.pdf\">\u003cspan class=\"s3\">this map\u003c/span>\u003c/a>. Your bladder will thank you later. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T Endlessly Hop Between Stages \u003c/b>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The dilemma: Two bands you’re dying to see are playing at the same time. Do you watch one for 20 minutes then walk over to the other stage to see the second artist finish? No, because walking between stages takes a while, and if Cara suddenly has to pee, or your best friend from middle school appears out of nowhere and starts petting you, it could take even longer. Outside Lands isn’t a contest. You’re not on \u003ca href=\"https://www.youtube.com/watch?v=eBvOb6dO7G0\">\u003cspan class=\"s3\">Supermarket Sweep\u003c/span>\u003c/a>. So resist the urge to fill your proverbial shopping cart with as many \u003c/span>\u003cspan class=\"s1\">bands as possible, and just relax and enjoy the show. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coldest summer music festival in the world returns to San Francisco next weekend. Over 100,000 people will trample their way through Golden Gate Park’s polo fields for the 8th annual \u003ca href=\"http://www.sfoutsidelands.com/\">Outside Lands\u003c/a>. And while the most important thing to do is \u003cdel>wear the cutest outfit possible!\u003c/del> enjoy the music, here’s a list of dos and don’ts to help you make the most of your weekend.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Wear Layers \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Outside Lands is just like Coachella, if you replace blistering heat and shirtless bros with smothering fog and fully clothed tech bros. As is the case with any outdoor activity in San Francisco, it’s essential to wear layers. While you may get greeted by the sun upon arrival, odds are the fog will blanket the venue by 5pm, leaving hordes of confused out-of-towners wondering what month it is. Don’t be a confused tourist! Wear layers. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T\u003c/b> \u003cb>Party Too Hard and Miss Your Favorite Band\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Many people like to party before they even get to Outside Lands. Others go too hard in the first few hours that they’re there. What all these people seem to forget is that the music doesn’t stop 'til around 10pm, so pace yourself, lest you black out during the headlining sets you paid good money to see. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Figure Out How You’re Getting Home\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You can take Muni to Outside Lands and get there quickly, but good luck getting home. As thousands of haggard zombies make their way out of the park, mayhem ensues. Muni lines leaving the park will be packed, but here’s an idea: Take a less crowded bus toward the ocean instead. Eventually it will turn around and you’ll actually have a seat. Another option: Take the South exit out of the festival, even if you’re trying to go north. Lincoln always seems less crowded than Fulton, so try walking up to Judah to take the N, or if you’re lucky, score an Uber or Lyft (but watch out for ridiculous surge pricing). \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON'T Expect Perfection \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Like most things in San Francisco, Outside Lands is far from perfect. But that’s okay, as long as you go in with the right expectations. In 2008, a train of fog nearly derailed Radiohead’s headlining set. And it’s pretty much a given that a few bands will arrive late, play truncated sets, or in some cases, \u003ca href=\"http://www.stereogum.com/1697598/chvrches-cancel-outside-lands-set-due-to-border-crossing-trouble/news/\">\u003cspan class=\"s3\">not show up at all\u003c/span>\u003c/a>. The sound isn’t always great either, especially when you watch from the sides. But, if you plant yourself near a speaker, things should be alright. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Bring Water \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You’re allowed to bring two factory-sealed water bottles (up to 1 liter each) through the gates. Save your money and spend it on better things, like… \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Craft Beer! \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Charging $10 for a Bud Light at a baseball game is larceny. Downing a nice craft beer while listening to great music is far more enjoyable. Over two dozen local breweries are represented at this year’s \u003ca href=\"http://www.sfoutsidelands.com/beer-lands\">\u003cspan class=\"s3\">Beer Lands\u003c/span>\u003c/a>. You’ll pay as much for one beer as you would a six-pack from the store, but at least it’ll taste good. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T\u003c/b> \u003cb>Go With A Big Group \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You will get lost. Hell, if you go with more than four people, you’ll likely get split up at some point during the day, only to realize your cellphones don’t really work, it’s suddenly 55 degrees out, and you left your jacket in Sarah’s backpack. It’s way more practical to go with a small group of close friends and meet up with people once you’re there, that way you can have a blast and not feel obligated to keep up with the pack. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Stumble Through McLaren Pass\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Sort of in the middle of everything but also incredibly easy to miss, McLaren Pass is home to carnies, chocolate, and GastroMagic. The latter is an underrated stage where chefs and audience members interact in a bizarre medley of sights, smells, and food demos. Last year, Brenda’s French Soul Food offered free beignets to anyone who twerked. You can check out this year’s lineup \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\">\u003cspan class=\"s3\">here\u003c/span>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T Bring A Selfie Stick \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Just don’t. Technically \u003ca href=\"http://www.sfoutsidelands.com/festival-info/entry\">they’re allowed\u003c/a>, but that doesn’t mean you should have one. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DO Find The Shortest Porta Potty Lines \u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">There are a lot of Porta Pottys at Outside Lands. There are also a lot of Porta Potty lines. Less trafficked bathroom spots include: The tree-covered Porta Pottys on your right, if you’re walking toward Twin Peaks Stage from Lands End Stage, and the ones tucked behind McLaren Pass if you’re headed toward Sutro Stage. Memorize all the tiny blue squares on \u003ca href=\"http://www.sfoutsidelands.com/sites/default/files/content-files/files/OL14_FestivalMap.pdf\">\u003cspan class=\"s3\">this map\u003c/span>\u003c/a>. Your bladder will thank you later. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>DON’T Endlessly Hop Between Stages \u003c/b>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The dilemma: Two bands you’re dying to see are playing at the same time. Do you watch one for 20 minutes then walk over to the other stage to see the second artist finish? No, because walking between stages takes a while, and if Cara suddenly has to pee, or your best friend from middle school appears out of nowhere and starts petting you, it could take even longer. Outside Lands isn’t a contest. You’re not on \u003ca href=\"https://www.youtube.com/watch?v=eBvOb6dO7G0\">\u003cspan class=\"s3\">Supermarket Sweep\u003c/span>\u003c/a>. So resist the urge to fill your proverbial shopping cart with as many \u003c/span>\u003cspan class=\"s1\">bands as possible, and just relax and enjoy the show. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yes, yes, we know we’re all supposed to be \u003ca href=\"http://ww2.kqed.org/arts/2015/07/24/make-it-rain-a-playlist-for-california/\" target=\"_blank\" rel=\"noopener\">praying for rain\u003c/a>. But can you blame us if we’re excited about this week’s miniature heat wave? We normally spend the months of June through August staring dumbly at friends’ Instagram pictures of beach days and lake houses, counting the days until October, when we burst out of our homes and haul ass toward Hardly Strictly Bluegrass, our pale San Franciscan bodies burning to a crisp at the first hint of sun exposure.\u003c/p>\n\u003cp>Okay, maybe a slight exaggeration. But still: Warm weather in these parts, during these months, is a special thing indeed. With this in mind, here are a few suggestions for events that will get you out of doors while it lasts. (And don’t forget to pack the sunscreen.)\u003c/p>\n\u003cp>\u003cstrong>Thursday, July 30: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/quinn-deveaux-and-the-blue-beat-review/\" target=\"_blank\" rel=\"noopener\">Quinn DeVeaux and the Blue Beat Revue at the UC Botanical Garden.\u003c/a> \u003c/strong>If you’re already making a trek to check out the \u003ca href=\"http://ww2.kqed.org/science/2015/07/21/berkeley-corpse-flower-blooming-soon-in-all-its-disgusting-glory/\" target=\"_blank\" rel=\"noopener\">grossest flower ever\u003c/a>, you could do a lot worse than to spend the rest of your evening spent in a beautiful redwood grove in the Berkeley hills, in the shade of 100-year-old trees — with one of the Bay Area’s hottest R&B crooners, no less. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/quinn-deveaux-and-the-blue-beat-review/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zr4X7B9-5kI\u003c/p>\n\u003cp>\u003cstrong>Thursday, July 30: \u003ca href=\"https://www.facebook.com/events/921989757865209\" target=\"_blank\" rel=\"noopener\">The First Annual Ginger Pride\u003cb> Festival\u003c/b>\u003c/a> \u003c/strong>at Dolores Park. Nuff said. Grab your redheaded stepsister and head on over at 6 pm for a photo booth (complete with ginger wigs), a specialty cocktail (Jameson and ginger ale, naturally), a silent disco, and an afterparty at Monarch at 10 pm. It’s all open to gingers and ginger-allies alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, July 31: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-trauma-through-the-riot-grrl-movement/\" target=\"_blank\" rel=\"noopener\">Film Screening & Panel: Art & Trauma Through the Riot Grrrl Movement\u003c/a>. \u003c/strong>This one isn’t \u003cem>technically\u003c/em> outdoors — but the Luggage Store, the gallery where this screening and discussion will take place, is flanked by the \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a>, one of the most beautifully unexpected outdoor spaces in the city. Join punks, activists, and public health workers for a short sneak preview of \u003cem>My Rock n Roll Fantasy\u003c/em>, a forthcoming documentary about Molly 16, who was a seminal figure in the riot grrrl scene of the ’90s in the Pacific Northwest. If we’re willing to sit through a dozen documentaries and biographies about Kurt Cobain each year, it’s time to make space for a conversation about this too. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-trauma-through-the-riot-grrl-movement/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/128028330\u003c/p>\n\u003cp>\u003cstrong>Friday, July 31: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wang-chung/\" target=\"_blank\" rel=\"noopener\">Wang Chung\u003c/a>. \u003c/strong>Complete this lyric: \u003cem>“Everybody have fun tonight / everybody _______.” \u003c/em>Don’t lie, you know the words to Wang Chung’s biggest synth-speckled hit, the 1986 song whose music video quickly became infamous for triggering seizures in some viewers. (See below, unless you have epilepsy!) You probably know “Dance Hall Days,” too. And while the British New Wave act probably won’t be returning to the charts anytime soon, there’s no denying the simple pleasure of shouting along to those choruses with a couple hundred other people — especially people who have been downing cheap beer and funnel cake all day before hitting the roller coasters, because you, my friend, are at the Santa Cruz Beach Boardwalk. The free Friday concert series brings the group to the beach for what’s sure to be an evening of retro reminiscing like no other. Two separate shows; two separate chances to, um, \u003cem>Wang Chung\u003c/em> tonight. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wang-chung/\">Details!\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BoXu6QmxpJE\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 1: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/vintage-paper-fair/\" target=\"_blank\" rel=\"noopener\">Vintage Paper Fair. \u003c/a>\u003c/strong>Looking for a calendar full of 1930s pinup girls — that’s actually from the 1930s? Maybe a postcard from long-gone vacation resort? Or a wedding announcement from, well, a time before wedding websites? Look no further than the Vintage Paper Fair, the annual gathering of typography geeks and stationery savants alike, where you can stock up on antique postcards, advertising, pinup art, local history, sports, entertainment and transportation memorabilia, and more. This traveling festival takes over Golden Gate Park for its yearly San Francisco appearance, with over a million items for sale under the roof of the County Fair building. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/vintage-paper-fair/\" target=\"_blank\" rel=\"noopener\">Deets here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 1 – Sunday, Aug. 2:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-soul-oakland/\" target=\"_blank\" rel=\"noopener\"> Art + Soul Oakland 2015.\u003c/a> \u003c/strong>Come summertime, street fairs are a dime a dozen in the Bay Area, and it’s easy to assume they’re interchangeable as well. Not so fast — this two-day fest full of music and food stands out from the pack. Its musical lineup is a who’s-who of local hip-hop, jazz, R&B, and blues, with an emphasis on musicians who wear their love for The Town on their sleeves — and the barbecue is superb to boot. At this 15th annual fest, catch Kev Choice (an Oakland pianist/MC who’s shared stages with Lauryn Hill, Too $hort, and the Coup) and members of the Family Stone. Then take a break to check out the super-talented teams participating in the National Poetry Slam, and some aerialists and acrobats from the Kinetic Arts Center. Wrap up the evening by making your way back to the concert area in time for a set from the legendary Sheila E., followed by the dynamic Zakiya Harris (check her out below), who’ll be opening for Talib Kweli to close out Stern Grove on Aug. 16. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-soul-oakland/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1JUejW7-ZQ\u003c/p>\n\n",
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"excerpt": "From an Oakland street fest to a Riot Grrrl discussion to a retro night at the Santa Cruz Beach Boardwalk, here are your best bets for being an outdoor kid while the temps are high. ",
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"title": "Hot Ticket: Six Picks for This Week's Heat Wave | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, yes, we know we’re all supposed to be \u003ca href=\"http://ww2.kqed.org/arts/2015/07/24/make-it-rain-a-playlist-for-california/\" target=\"_blank\" rel=\"noopener\">praying for rain\u003c/a>. But can you blame us if we’re excited about this week’s miniature heat wave? We normally spend the months of June through August staring dumbly at friends’ Instagram pictures of beach days and lake houses, counting the days until October, when we burst out of our homes and haul ass toward Hardly Strictly Bluegrass, our pale San Franciscan bodies burning to a crisp at the first hint of sun exposure.\u003c/p>\n\u003cp>Okay, maybe a slight exaggeration. But still: Warm weather in these parts, during these months, is a special thing indeed. With this in mind, here are a few suggestions for events that will get you out of doors while it lasts. (And don’t forget to pack the sunscreen.)\u003c/p>\n\u003cp>\u003cstrong>Thursday, July 30: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/quinn-deveaux-and-the-blue-beat-review/\" target=\"_blank\" rel=\"noopener\">Quinn DeVeaux and the Blue Beat Revue at the UC Botanical Garden.\u003c/a> \u003c/strong>If you’re already making a trek to check out the \u003ca href=\"http://ww2.kqed.org/science/2015/07/21/berkeley-corpse-flower-blooming-soon-in-all-its-disgusting-glory/\" target=\"_blank\" rel=\"noopener\">grossest flower ever\u003c/a>, you could do a lot worse than to spend the rest of your evening spent in a beautiful redwood grove in the Berkeley hills, in the shade of 100-year-old trees — with one of the Bay Area’s hottest R&B crooners, no less. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/quinn-deveaux-and-the-blue-beat-review/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\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/zr4X7B9-5kI'\n title='//www.youtube.com/embed/zr4X7B9-5kI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, July 30: \u003ca href=\"https://www.facebook.com/events/921989757865209\" target=\"_blank\" rel=\"noopener\">The First Annual Ginger Pride\u003cb> Festival\u003c/b>\u003c/a> \u003c/strong>at Dolores Park. Nuff said. Grab your redheaded stepsister and head on over at 6 pm for a photo booth (complete with ginger wigs), a specialty cocktail (Jameson and ginger ale, naturally), a silent disco, and an afterparty at Monarch at 10 pm. It’s all open to gingers and ginger-allies alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, July 31: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-trauma-through-the-riot-grrl-movement/\" target=\"_blank\" rel=\"noopener\">Film Screening & Panel: Art & Trauma Through the Riot Grrrl Movement\u003c/a>. \u003c/strong>This one isn’t \u003cem>technically\u003c/em> outdoors — but the Luggage Store, the gallery where this screening and discussion will take place, is flanked by the \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a>, one of the most beautifully unexpected outdoor spaces in the city. Join punks, activists, and public health workers for a short sneak preview of \u003cem>My Rock n Roll Fantasy\u003c/em>, a forthcoming documentary about Molly 16, who was a seminal figure in the riot grrrl scene of the ’90s in the Pacific Northwest. If we’re willing to sit through a dozen documentaries and biographies about Kurt Cobain each year, it’s time to make space for a conversation about this too. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-trauma-through-the-riot-grrl-movement/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Friday, July 31: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wang-chung/\" target=\"_blank\" rel=\"noopener\">Wang Chung\u003c/a>. \u003c/strong>Complete this lyric: \u003cem>“Everybody have fun tonight / everybody _______.” \u003c/em>Don’t lie, you know the words to Wang Chung’s biggest synth-speckled hit, the 1986 song whose music video quickly became infamous for triggering seizures in some viewers. (See below, unless you have epilepsy!) You probably know “Dance Hall Days,” too. And while the British New Wave act probably won’t be returning to the charts anytime soon, there’s no denying the simple pleasure of shouting along to those choruses with a couple hundred other people — especially people who have been downing cheap beer and funnel cake all day before hitting the roller coasters, because you, my friend, are at the Santa Cruz Beach Boardwalk. The free Friday concert series brings the group to the beach for what’s sure to be an evening of retro reminiscing like no other. Two separate shows; two separate chances to, um, \u003cem>Wang Chung\u003c/em> tonight. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/wang-chung/\">Details!\u003c/a>\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/BoXu6QmxpJE'\n title='//www.youtube.com/embed/BoXu6QmxpJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Aug. 1: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/vintage-paper-fair/\" target=\"_blank\" rel=\"noopener\">Vintage Paper Fair. \u003c/a>\u003c/strong>Looking for a calendar full of 1930s pinup girls — that’s actually from the 1930s? Maybe a postcard from long-gone vacation resort? Or a wedding announcement from, well, a time before wedding websites? Look no further than the Vintage Paper Fair, the annual gathering of typography geeks and stationery savants alike, where you can stock up on antique postcards, advertising, pinup art, local history, sports, entertainment and transportation memorabilia, and more. This traveling festival takes over Golden Gate Park for its yearly San Francisco appearance, with over a million items for sale under the roof of the County Fair building. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/vintage-paper-fair/\" target=\"_blank\" rel=\"noopener\">Deets here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 1 – Sunday, Aug. 2:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-soul-oakland/\" target=\"_blank\" rel=\"noopener\"> Art + Soul Oakland 2015.\u003c/a> \u003c/strong>Come summertime, street fairs are a dime a dozen in the Bay Area, and it’s easy to assume they’re interchangeable as well. Not so fast — this two-day fest full of music and food stands out from the pack. Its musical lineup is a who’s-who of local hip-hop, jazz, R&B, and blues, with an emphasis on musicians who wear their love for The Town on their sleeves — and the barbecue is superb to boot. At this 15th annual fest, catch Kev Choice (an Oakland pianist/MC who’s shared stages with Lauryn Hill, Too $hort, and the Coup) and members of the Family Stone. Then take a break to check out the super-talented teams participating in the National Poetry Slam, and some aerialists and acrobats from the Kinetic Arts Center. Wrap up the evening by making your way back to the concert area in time for a set from the legendary Sheila E., followed by the dynamic Zakiya Harris (check her out below), who’ll be opening for Talib Kweli to close out Stern Grove on Aug. 16. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/art-soul-oakland/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C1JUejW7-ZQ'\n title='//www.youtube.com/embed/C1JUejW7-ZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Naomi Wolf Is, Like, Totally Wrong on Vocal Fry",
"title": "Why Naomi Wolf Is, Like, Totally Wrong on Vocal Fry",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>A lot has been written about vocal fry over the past few weeks. Most of these articles are made up of the same parts. First, they start things off with some Valley Girl/Kardashian joke. Then, they interview some linguist about the history of the speech pattern. And then comes the avalanche of judgment, mostly informed by what white men in positions of power think of the way some women speak (spoiler: these men think it's annoying and want these women to speak differently or shut up).\u003c/p>\n\u003cp>Yesterday, Naomi Wolf, author of seminal feminist text \u003cem>The Beauty Myth\u003c/em>, was trending for \u003ca href=\"http://www.theguardian.com/commentisfree/2015/jul/24/vocal-fry-strong-female-voice\" target=\"_blank\">something she wrote\u003c/a> for \u003cem>The Guardian\u003c/em> on this issue. I was excited for a voice of reason to enter the conversation. But then I read the headline: \"Young women, give up the vocal fry and reclaim your strong female voice.\" Et tu, Naomi Wolf? It didn't get much better from there.\u003c/p>\n\u003cp>The sub-header calls vocal fry a \"destructive speech pattern.\" And Wolf carries that message home by focusing on studies that brand women with vocal fry as \"less competent, less trustworthy, less educated and less hireable.\" She mentions that women don't use declarative sentences, don't sound confident enough, allow uptick to undersell their authority, etc. Notice a trend? Wolf places all the emphasis on what women are doing \"wrong,\" while turning a blind eye to the real story here: the ease with which men feel at liberty to police, ridicule and shame women's behavior.\u003c/p>\n\u003cp>I believe Wolf when she says that, for some (*cough* old white dudes *cough*), vocal fry, uptick or the word \"like\" might come across as insecure or unprofessional. But it's irresponsible to pass these opinions off as a mandate on a marginalized group. Instead of writing an essay about how men should quit imposing behavioral expectations on women (you should smile more, you should wear pants, you should only breastfeed in private, you should talk like this), Wolf's essay spends all of its time putting the onus on young women and pleads with them to get some voice lessons so they can succeed and fit in with the men who disdain their mannerisms.\u003c/p>\n\u003cp>This approach might seem familiar because it's the same framework that crops up in discussions of rape. The focus falls on how girls and women can change the way they dress and act to lessen the chances of sexual assault, instead of on how we can teach boys and men to not sexually assault.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Haven't women spent enough time following rules made by men? And why the gendering of vocal fry? Men do it too, as this segment from \u003cem>Culture Gabfest\u003c/em> attests:\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/215754305\" 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>But we don't get long essays about things men do wrong. Our culture is too busy picking women apart. We've become so good at it. So it's not a reach to assume that the uncertain uptick or the qualifying \"like\" could be consequences of a culture in which women—and what they have to say—aren't always valued, especially in professional settings.\u003c/p>\n\u003cp>Some people define the sound of professionalism based on what they've heard on the nightly news or NPR for years. A buttoned-up, serious white male tone. Those who don't naturally fit into that vocal category feel the need to conform. NPR's Gene Demby started \u003cem>Code Switch\u003c/em>, a blog about race, ethnicity and culture based on the practice of slipping into a \"more acceptable\" speech pattern to be taken seriously.\u003c/p>\n\u003cp>And if one doesn't conform, he/mostly she is ridiculed. The reviews section for NPR's \u003cem>Invisibilia\u003c/em> is riddled with complaints about host Alix Spiegel's vocal fry. For these people, anything insightful Spiegel contributes is cancelled out by her delivery.\u003c/p>\n\u003cp>In an essay titled \"\u003ca href=\"http://nymag.com/thecut/2015/07/can-we-just-like-get-over-the-way-women-talk.html\" target=\"_blank\">Can We Just, Like, Get Over the Way Women Talk?\u003c/a>,\" Ann Friedman discusses getting criticism from listeners of her podcast, \u003cem>Call Your Girlfriend,\u003c/em> and the negative impact of trying to cater to these detractors:\u003c/p>\n\u003cblockquote>\u003cp>\"It quickly became apparent that if we were to take the advice of all of our detractors — carefully enunciating, limiting our \u003ci>likes\u003c/i>, moderating our tone to avoid vocal fry — our podcast would sound very different. It would be stripped of its cadence and its meaning; it would lose the casual, friendly tone we wanted it to have and its special feeling of intimacy. It wouldn’t be ours anymore.\"\u003c/p>\u003c/blockquote>\n\u003cp>Jessica Grose, a cohost of the \u003cem>Slate \u003c/em>podcast, the \u003cem>DoubleX Gabfest, \u003c/em>echoed this sentiment on \u003cem>\u003ca href=\"http://www.npr.org/2015/07/23/425608745/from-upspeak-to-vocal-fry-are-we-policing-young-womens-voices\" target=\"_blank\">Fresh Air\u003c/a>\u003c/em>, when discussing how she employed a vocal coach to change her voice after receiving similar criticism:\u003c/p>\n\u003cblockquote>\u003cp>\"I felt like it was blunting my emotional range. I felt when I was self-conscious about my voice it lost that expressive, connective quality ... There was something lost when I wasn't being myself, whatever that is.\"\u003c/p>\u003c/blockquote>\n\u003cp>Like Friedman and Grose, I've also received this same kind of feedback about a podcast project I've been working on. \u003cem>Say \"like\" less. Get rid of the uptick. Be more authoritative.\u003c/em> The next time I went into the studio, I was so focused on these notes, on excising the bits of personal flair in my normal speech that I felt like a robot, like someone else. The authenticity was gone. Pretending to be someone you're not isn't healthy, especially if it's to please others or fit into a mold that makes someone else feel more comfortable. As someone who spent all of high school in the closet, I know how damaging that can be firsthand.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But times are changing. Women, people of color, gay and trans people are finding themselves with a seat at the table, after being excluded or relegated to the token role for so long. And with that culture shift, the voices present are bound to vary. This threatens the status quo and inspires the kind of derisive comments on vocal fry that Wolf so prominently highlights in her piece. It's the sound of people accustomed to having the upper hand struggling against change, which is far more annoying to the ear than vocal fry could ever be.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot has been written about vocal fry over the past few weeks. Most of these articles are made up of the same parts. First, they start things off with some Valley Girl/Kardashian joke. Then, they interview some linguist about the history of the speech pattern. And then comes the avalanche of judgment, mostly informed by what white men in positions of power think of the way some women speak (spoiler: these men think it's annoying and want these women to speak differently or shut up).\u003c/p>\n\u003cp>Yesterday, Naomi Wolf, author of seminal feminist text \u003cem>The Beauty Myth\u003c/em>, was trending for \u003ca href=\"http://www.theguardian.com/commentisfree/2015/jul/24/vocal-fry-strong-female-voice\" target=\"_blank\">something she wrote\u003c/a> for \u003cem>The Guardian\u003c/em> on this issue. I was excited for a voice of reason to enter the conversation. But then I read the headline: \"Young women, give up the vocal fry and reclaim your strong female voice.\" Et tu, Naomi Wolf? It didn't get much better from there.\u003c/p>\n\u003cp>The sub-header calls vocal fry a \"destructive speech pattern.\" And Wolf carries that message home by focusing on studies that brand women with vocal fry as \"less competent, less trustworthy, less educated and less hireable.\" She mentions that women don't use declarative sentences, don't sound confident enough, allow uptick to undersell their authority, etc. Notice a trend? Wolf places all the emphasis on what women are doing \"wrong,\" while turning a blind eye to the real story here: the ease with which men feel at liberty to police, ridicule and shame women's behavior.\u003c/p>\n\u003cp>I believe Wolf when she says that, for some (*cough* old white dudes *cough*), vocal fry, uptick or the word \"like\" might come across as insecure or unprofessional. But it's irresponsible to pass these opinions off as a mandate on a marginalized group. Instead of writing an essay about how men should quit imposing behavioral expectations on women (you should smile more, you should wear pants, you should only breastfeed in private, you should talk like this), Wolf's essay spends all of its time putting the onus on young women and pleads with them to get some voice lessons so they can succeed and fit in with the men who disdain their mannerisms.\u003c/p>\n\u003cp>This approach might seem familiar because it's the same framework that crops up in discussions of rape. The focus falls on how girls and women can change the way they dress and act to lessen the chances of sexual assault, instead of on how we can teach boys and men to not sexually assault.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Haven't women spent enough time following rules made by men? And why the gendering of vocal fry? Men do it too, as this segment from \u003cem>Culture Gabfest\u003c/em> attests:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/215754305&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/215754305'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But we don't get long essays about things men do wrong. Our culture is too busy picking women apart. We've become so good at it. So it's not a reach to assume that the uncertain uptick or the qualifying \"like\" could be consequences of a culture in which women—and what they have to say—aren't always valued, especially in professional settings.\u003c/p>\n\u003cp>Some people define the sound of professionalism based on what they've heard on the nightly news or NPR for years. A buttoned-up, serious white male tone. Those who don't naturally fit into that vocal category feel the need to conform. NPR's Gene Demby started \u003cem>Code Switch\u003c/em>, a blog about race, ethnicity and culture based on the practice of slipping into a \"more acceptable\" speech pattern to be taken seriously.\u003c/p>\n\u003cp>And if one doesn't conform, he/mostly she is ridiculed. The reviews section for NPR's \u003cem>Invisibilia\u003c/em> is riddled with complaints about host Alix Spiegel's vocal fry. For these people, anything insightful Spiegel contributes is cancelled out by her delivery.\u003c/p>\n\u003cp>In an essay titled \"\u003ca href=\"http://nymag.com/thecut/2015/07/can-we-just-like-get-over-the-way-women-talk.html\" target=\"_blank\">Can We Just, Like, Get Over the Way Women Talk?\u003c/a>,\" Ann Friedman discusses getting criticism from listeners of her podcast, \u003cem>Call Your Girlfriend,\u003c/em> and the negative impact of trying to cater to these detractors:\u003c/p>\n\u003cblockquote>\u003cp>\"It quickly became apparent that if we were to take the advice of all of our detractors — carefully enunciating, limiting our \u003ci>likes\u003c/i>, moderating our tone to avoid vocal fry — our podcast would sound very different. It would be stripped of its cadence and its meaning; it would lose the casual, friendly tone we wanted it to have and its special feeling of intimacy. It wouldn’t be ours anymore.\"\u003c/p>\u003c/blockquote>\n\u003cp>Jessica Grose, a cohost of the \u003cem>Slate \u003c/em>podcast, the \u003cem>DoubleX Gabfest, \u003c/em>echoed this sentiment on \u003cem>\u003ca href=\"http://www.npr.org/2015/07/23/425608745/from-upspeak-to-vocal-fry-are-we-policing-young-womens-voices\" target=\"_blank\">Fresh Air\u003c/a>\u003c/em>, when discussing how she employed a vocal coach to change her voice after receiving similar criticism:\u003c/p>\n\u003cblockquote>\u003cp>\"I felt like it was blunting my emotional range. I felt when I was self-conscious about my voice it lost that expressive, connective quality ... There was something lost when I wasn't being myself, whatever that is.\"\u003c/p>\u003c/blockquote>\n\u003cp>Like Friedman and Grose, I've also received this same kind of feedback about a podcast project I've been working on. \u003cem>Say \"like\" less. Get rid of the uptick. Be more authoritative.\u003c/em> The next time I went into the studio, I was so focused on these notes, on excising the bits of personal flair in my normal speech that I felt like a robot, like someone else. The authenticity was gone. Pretending to be someone you're not isn't healthy, especially if it's to please others or fit into a mold that makes someone else feel more comfortable. As someone who spent all of high school in the closet, I know how damaging that can be firsthand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But times are changing. Women, people of color, gay and trans people are finding themselves with a seat at the table, after being excluded or relegated to the token role for so long. And with that culture shift, the voices present are bound to vary. This threatens the status quo and inspires the kind of derisive comments on vocal fry that Wolf so prominently highlights in her piece. It's the sound of people accustomed to having the upper hand struggling against change, which is far more annoying to the ear than vocal fry could ever be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "West Edge Presents Operas in Unexpected Oakland Locations",
"headTitle": "West Edge Presents Operas in Unexpected Oakland Locations | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘West Edge Opera Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">The now-nomadic opera company presents a trio of operas as part of this year’s festival.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Hardship seems to have only made West Edge Opera better, as evidenced by the brilliant opening of a three-opera festival last weekend. The operas are all unusual choices performed in unconventional locations.\u003c/p>\n\u003cp>Formerly known as Berkeley Opera, the company moved to El Cerrito in 2009 and subsequently changed names after being squeezed out of the Julia Morgan Theater because of scheduling conflicts. Emblematic of the Bay Area’s current rental crisis, West Edge was then priced out of a permanent venue in 2013.\u003c/p>\n\u003cp>The company is evidently making the most of its nomadic state, presenting three fine productions in three different Oakland venues that succeed because of — rather than in spite of — the awkward spaces in which the works are staged.\u003c/p>\n\u003cp>The festival began with Alban Berg’s \u003cem>Lulu\u003c/em> at a decaying Beaux-Arts train station in West Oakland on Saturday night.\u003cstrong> \u003c/strong>The 1935 opera centers on a predatory but charismatic woman who uses people for her own gain but ends up spiraling into prostitution herself. The vivid production features intense singing over a swirl of chaotic playing.\u003c/p>\n\u003cp>The deserted 16th Street Train Station suits Berg’s opera. Both the setting and the work are striking, yet neither could be described as agreeable. There is a beauty in the disrepair of the building as there is in the luridness of the opera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set is spare. There is one main room and two smaller ones upstage, with pink curtains to change some of the scenes. Titles projected above the stage do much of the work of letting us know when and where we are. Adding to the overall sense of economy is a black and white film that condenses the narrative such that some of the music can be cut. This keeps the length of the opera to under three hours.\u003c/p>\n\u003cp>The space looks cavernous, yet the singing still projects well. In the role of Lulu, Emma McNairy has clearly come into her own. Her commitment to the character is unequivocal and her sound is agile despite how easily those piercing high notes could have rung shrill or hollow.\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>Presented in a new reduced orchestration, Berg’s atonal music is challenging and the melodic lines are not always obvious. Music Director Jonathan Khuner leads a boisterous orchestra seated on the same level as the audience. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>No less captivating is the second opera in the festival, the West Coast premiere of Laura Kaminsky’s \u003cem>As One\u003c/em>. Held at the Oakland Metro, the home of erstwhile Oakland Opera Theater, this chamber opera requires the minimalistic forces of just two singers and a string quartet.\u003c/p>\n\u003cp>Based on the life of transgender filmmaker Kimberly Reed, the opera’s two singers play one character that comes to be named Hannah. We follow her from adolescence to young adulthood. A film by Reed, whose work has been shown at the Telluride Film Festival, also appears during the opera.\u003c/p>\n\u003cp>Artistic Director Mark Streshinsky’s staging makes efficient use of the space. The Oakland Metro is intimately appropriate for a work of this scale. But there is little air and so the venue becomes uncomfortably warm\u003cstrong>. \u003c/strong>The discomfort of audience parallels the distress of the main character.\u003c/p>\n\u003cp>The stage employs nine platforms arranged around the string players and conductor — The Friction string quartet and Bryan Nies — who sit in the center of the proceedings. This leaves mezzo-soprano Brenda Patterson (Hannah After) and baritone Dan Kempson (Hannah Before) to gamely hop about the platforms around the strident playing. The warm voices temper the strings, though both singers can fill the whole room.\u003c/p>\n\u003cp>Ten actors fill out the scenes and aid set changes, as does the film displayed on five upstage screens. The addition of video content can be overwhelming, as the voices alone are potent without the imagery\u003cstrong>. \u003c/strong> The immediacy of this in close quarters holds the attention.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>The tightly-wrought piece lasts a mere 80 minutes. The composer and librettists strike a good balance: the opera is serious, but there are humorous moments throughout. The protagonist is very human without being overly sentimentalized.\u003c/p>\n\u003cp>The final opera of the festival, Monteverdi’s \u003cem>Il ritorno d’Ulisse in Patria\u003c/em>, opens at American Steel Studios in Oakland this coming Saturday. Held in a former pipe factory, this Baroque work based on Homer’s \u003cem>Odyssey\u003c/em> will be performed in collaboration with MusicSources, a non-profit devoted to historically informed performances.\u003c/p>\n\u003cp>The gritty industrial space seems like it might be at odds with a 17th century piece. Given director Streshinsky’s previous unconventional Baroque productions, such as a comedic \u003cem>Xerxes\u003c/em> in 2010, he will embrace the contrasts. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The set is spare. There is one main room and two smaller ones upstage, with pink curtains to change some of the scenes. Titles projected above the stage do much of the work of letting us know when and where we are. Adding to the overall sense of economy is a black and white film that condenses the narrative such that some of the music can be cut. This keeps the length of the opera to under three hours.\u003c/p>\n\u003cp>The space looks cavernous, yet the singing still projects well. In the role of Lulu, Emma McNairy has clearly come into her own. Her commitment to the character is unequivocal and her sound is agile despite how easily those piercing high notes could have rung shrill or hollow.\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>Presented in a new reduced orchestration, Berg’s atonal music is challenging and the melodic lines are not always obvious. Music Director Jonathan Khuner leads a boisterous orchestra seated on the same level as the audience. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>No less captivating is the second opera in the festival, the West Coast premiere of Laura Kaminsky’s \u003cem>As One\u003c/em>. Held at the Oakland Metro, the home of erstwhile Oakland Opera Theater, this chamber opera requires the minimalistic forces of just two singers and a string quartet.\u003c/p>\n\u003cp>Based on the life of transgender filmmaker Kimberly Reed, the opera’s two singers play one character that comes to be named Hannah. We follow her from adolescence to young adulthood. A film by Reed, whose work has been shown at the Telluride Film Festival, also appears during the opera.\u003c/p>\n\u003cp>Artistic Director Mark Streshinsky’s staging makes efficient use of the space. The Oakland Metro is intimately appropriate for a work of this scale. But there is little air and so the venue becomes uncomfortably warm\u003cstrong>. \u003c/strong>The discomfort of audience parallels the distress of the main character.\u003c/p>\n\u003cp>The stage employs nine platforms arranged around the string players and conductor — The Friction string quartet and Bryan Nies — who sit in the center of the proceedings. This leaves mezzo-soprano Brenda Patterson (Hannah After) and baritone Dan Kempson (Hannah Before) to gamely hop about the platforms around the strident playing. The warm voices temper the strings, though both singers can fill the whole room.\u003c/p>\n\u003cp>Ten actors fill out the scenes and aid set changes, as does the film displayed on five upstage screens. The addition of video content can be overwhelming, as the voices alone are potent without the imagery\u003cstrong>. \u003c/strong> The immediacy of this in close quarters holds the attention.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>The tightly-wrought piece lasts a mere 80 minutes. The composer and librettists strike a good balance: the opera is serious, but there are humorous moments throughout. The protagonist is very human without being overly sentimentalized.\u003c/p>\n\u003cp>The final opera of the festival, Monteverdi’s \u003cem>Il ritorno d’Ulisse in Patria\u003c/em>, opens at American Steel Studios in Oakland this coming Saturday. Held in a former pipe factory, this Baroque work based on Homer’s \u003cem>Odyssey\u003c/em> will be performed in collaboration with MusicSources, a non-profit devoted to historically informed performances.\u003c/p>\n\u003cp>The gritty industrial space seems like it might be at odds with a 17th century piece. Given director Streshinsky’s previous unconventional Baroque productions, such as a comedic \u003cem>Xerxes\u003c/em> in 2010, he will embrace the contrasts. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Live Review: Kehlani Crests the Tsunami of Stardom at Slim’s | KQED",
"content": "\u003cp>There’s never any telling for sure who becomes famous in this crazy world, but if Vegas were taking bets, the wagers would be stacked in Kehlani’s favor. And after a stellar hour-and-a-half set at Slim’s on Sunday night to a sold-out crowd, fame for the East Bay native seems even more of a foregone conclusion.\u003c/p>\n\u003cp>Consider Kehlani’s fans, who presented bouquets of flowers at her arrival to the stage, and who sang along, loudly, to every word of her songs. Consider Kehlani herself, with the wardrobe of Aaliyah, the choreography of Beyoncé and the heart of Lauryn Hill. Consider the club’s bartenders and other staff at the show, and the look on their faces that asked: \u003cem>Who is this girl?\u003c/em>\u003c/p>\n\u003cp>Kehlani Parrish is a 20-year-old R&B singer and songwriter whose Oakland upbringing wasn’t always easy. At a young age, \u003ca href=\"https://instagram.com/p/5nU1B-vD19/\" target=\"_blank\" rel=\"noopener\">her father\u003c/a> was murdered, and later, her mother bounced in and out of jail with drug problems. Singing gave her an escape, and in her early teens she fronted a group assembled by Dwayne Wiggins from Tony Toni Toné called \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U\" target=\"_blank\" rel=\"noopener\">PopLyfe\u003c/a>. (Even at a young age, Kehlani’s stage presence was irresistible; after their performance at Oakland’s Malcolm X Festival in 2009, \u003ca href=\"http://citysound.bohemian.com/2009/06/01/live-review-abraham-burton-at-the-malcolm-x-jazz-arts-festival/\" target=\"_blank\" rel=\"noopener\">this reviewer stated\u003c/a> that she was “destined to be a household name someday.”)\u003c/p>\n\u003cfigure id=\"attachment_10864415\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KehlaniINLINE.jpg\" alt=\"Kehlani performs at Slim's, July 26, 2015. (Photo: Gabe Meline/KQED)\" width=\"457\" height=\"640\" class=\"size-full wp-image-10864415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniINLINE.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniINLINE-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniINLINE-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Slim’s, July 26, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>PopLyfe enjoyed national TV exposure in 2011 on \u003cem>America’s Got Talent\u003c/em>, eventually finishing in fourth place. Later, locked into a contractural obligation, Kehlani worked lousy jobs and couch-surfed, eventually hooking up with Richmond’s hip-hop collective \u003ca href=\"http://ww2.kqed.org/arts/2015/03/24/a-day-in-the-life-with-breakout-bay-area-rappers-hbk-gang/\" target=\"_blank\" rel=\"noopener\">HBK Gang\u003c/a>. When \u003cem>America’s Got Talent\u003c/em> host Nick Cannon called to see what she was up to, he offered studio time, resulting in her free mixtape \u003cem>\u003ca href=\"http://www.datpiff.com/Kehlani-Cloud-19-mixtape.642820.html\" target=\"_blank\" rel=\"noopener\">Cloud 19\u003c/a>\u003c/em> in 2014, followed by \u003cem>\u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">You Should Be Here\u003c/a>\u003c/em> in 2015.\u003c/p>\n\u003cp>Insert a move to L.A., a \u003ca href=\"http://www.rap-up.com/2015/06/01/jay-z-tidal-playlist/\" target=\"_blank\" rel=\"noopener\">Jay-Z co-sign\u003c/a>, a \u003ca href=\"https://instagram.com/p/5N6mxJvDyL/\" target=\"_blank\" rel=\"noopener\">Selena Gomez shout-out\u003c/a>, an Atlantic Records deal and \u003ca href=\"https://instagram.com/p/5N0_B3vD4h/\" target=\"_blank\" rel=\"noopener\">a sold-out national tour\u003c/a>, and that’s the basic story so far. What doesn’t get captured in dates and names, though, is Kehlani’s confident-yet-relatable personality. Born a mix of black, white, Native American, Latino and Filipino, and having dated both boys and girls, Kehlani’s ace in the hole is an instantly universal honesty that never feels forced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Slim’s, though she commanded the crowd with party rockers befitting a hometown show, the set’s highlight was “\u003ca href=\"https://www.youtube.com/watch?v=DAm7P7g1iOM\" target=\"_blank\" rel=\"noopener\">The Letter\u003c/a>,” a piano ballad dedicated to her largely absent mother that asks, plainly, why she was even born: “If you weren’t gonna guide me, why bring me into the light?” Kehlani sang, to hushed silence, “Must have done something to make you want to run and hide / Why oh why didn’t you just live your life?”\u003c/p>\n\u003cp>After musical director Jahaan Sweet finished the final chords, and the crowd erupted, Kehlani held a fist to her chest. “I need you to understand how positive that is!” she said. “That we’re all a group of young people, being positive in the Bay Area, singing those words!”\u003c/p>\n\u003cfigure id=\"attachment_10864416\" 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/KehlaniDANCERS.jpg\" alt=\"Kehlani performs at Slim's, July 26, 2015. (Photo: Gabe Meline/KQED)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10864416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Slim’s, July 26, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The 26-song set included a guest turn by Ambré Perkins on a cover of Drake “Preach,” as well as a 10-minute intermission taken over by Shmoplife hitmaker Kool John and a crew of nine stage-crashers. But the stage belonged largely to Kehlani, her two backup dancers, and her emotive songs. Unlike Keyshia Cole, another Oakland-raised R&B singer with a hood-to-Hollywood story but whose musical output has grown more formulaic over time, Kehlani has an arsenal of personal, heartfelt material: “\u003ca href=\"https://www.youtube.com/watch?v=qEnXFLsoBxA\" target=\"_blank\" rel=\"noopener\">Bright\u003c/a>,” a laid-back, swinging you-are-beautiful affirmation; “\u003ca href=\"https://www.youtube.com/watch?v=Jhp2GHaq2CY\" target=\"_blank\" rel=\"noopener\">First Position\u003c/a>,” which guides an unsure female lover into the sheets; “\u003ca href=\"https://www.youtube.com/watch?v=gxHK6Irgt1Q\" target=\"_blank\" rel=\"noopener\">FWU\u003c/a>,” a lively celebration of monogamy; and current hit “\u003ca href=\"https://www.youtube.com/watch?v=0E1xYcXsGp0\" target=\"_blank\" rel=\"noopener\">The Way\u003c/a>,” a slow-burning, Chance-the-Rapper-featuring earworm that at Slim’s elicited a sustained eruption of adoring screams. \u003c/p>\n\u003cp>In time, Kehlani will put out a formal debut album. She’ll tour without prerecorded backing tracks, the only drawback of her set Sunday night. She’ll surely play larger theaters. But she’s already got what all the industry training in the world can’t provide — an indomitable spirit, the type that was on display while her squirtgun-toting road crew doused the crowd during the show’s jubilant four-on-the-floor closer, “\u003ca href=\"https://www.youtube.com/watch?v=6DMOJkqeSrQ\" target=\"_blank\" rel=\"noopener\">Alive\u003c/a>.”\u003c/p>\n\u003cp>“If you know my story, you know you can come from one thing, and turn it into something beautiful,” Kehlani said before leaving the stage. “And it’s a blessing to come back here and share this with y’all.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST.jpg\" alt=\"KehlaniSETLIST\" width=\"457\" height=\"640\" class=\"aligncenter size-full wp-image-10864422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003c/p>\n\n",
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"excerpt": "During an intimate hour-and-a-half set to a rapt, sold-out crowd, Oakland native Kehlani proved her talent is bigger than the Bay Area can contain.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s never any telling for sure who becomes famous in this crazy world, but if Vegas were taking bets, the wagers would be stacked in Kehlani’s favor. And after a stellar hour-and-a-half set at Slim’s on Sunday night to a sold-out crowd, fame for the East Bay native seems even more of a foregone conclusion.\u003c/p>\n\u003cp>Consider Kehlani’s fans, who presented bouquets of flowers at her arrival to the stage, and who sang along, loudly, to every word of her songs. Consider Kehlani herself, with the wardrobe of Aaliyah, the choreography of Beyoncé and the heart of Lauryn Hill. Consider the club’s bartenders and other staff at the show, and the look on their faces that asked: \u003cem>Who is this girl?\u003c/em>\u003c/p>\n\u003cp>Kehlani Parrish is a 20-year-old R&B singer and songwriter whose Oakland upbringing wasn’t always easy. At a young age, \u003ca href=\"https://instagram.com/p/5nU1B-vD19/\" target=\"_blank\" rel=\"noopener\">her father\u003c/a> was murdered, and later, her mother bounced in and out of jail with drug problems. Singing gave her an escape, and in her early teens she fronted a group assembled by Dwayne Wiggins from Tony Toni Toné called \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U\" target=\"_blank\" rel=\"noopener\">PopLyfe\u003c/a>. (Even at a young age, Kehlani’s stage presence was irresistible; after their performance at Oakland’s Malcolm X Festival in 2009, \u003ca href=\"http://citysound.bohemian.com/2009/06/01/live-review-abraham-burton-at-the-malcolm-x-jazz-arts-festival/\" target=\"_blank\" rel=\"noopener\">this reviewer stated\u003c/a> that she was “destined to be a household name someday.”)\u003c/p>\n\u003cfigure id=\"attachment_10864415\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KehlaniINLINE.jpg\" alt=\"Kehlani performs at Slim's, July 26, 2015. (Photo: Gabe Meline/KQED)\" width=\"457\" height=\"640\" class=\"size-full wp-image-10864415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniINLINE.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniINLINE-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniINLINE-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Slim’s, July 26, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>PopLyfe enjoyed national TV exposure in 2011 on \u003cem>America’s Got Talent\u003c/em>, eventually finishing in fourth place. Later, locked into a contractural obligation, Kehlani worked lousy jobs and couch-surfed, eventually hooking up with Richmond’s hip-hop collective \u003ca href=\"http://ww2.kqed.org/arts/2015/03/24/a-day-in-the-life-with-breakout-bay-area-rappers-hbk-gang/\" target=\"_blank\" rel=\"noopener\">HBK Gang\u003c/a>. When \u003cem>America’s Got Talent\u003c/em> host Nick Cannon called to see what she was up to, he offered studio time, resulting in her free mixtape \u003cem>\u003ca href=\"http://www.datpiff.com/Kehlani-Cloud-19-mixtape.642820.html\" target=\"_blank\" rel=\"noopener\">Cloud 19\u003c/a>\u003c/em> in 2014, followed by \u003cem>\u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">You Should Be Here\u003c/a>\u003c/em> in 2015.\u003c/p>\n\u003cp>Insert a move to L.A., a \u003ca href=\"http://www.rap-up.com/2015/06/01/jay-z-tidal-playlist/\" target=\"_blank\" rel=\"noopener\">Jay-Z co-sign\u003c/a>, a \u003ca href=\"https://instagram.com/p/5N6mxJvDyL/\" target=\"_blank\" rel=\"noopener\">Selena Gomez shout-out\u003c/a>, an Atlantic Records deal and \u003ca href=\"https://instagram.com/p/5N0_B3vD4h/\" target=\"_blank\" rel=\"noopener\">a sold-out national tour\u003c/a>, and that’s the basic story so far. What doesn’t get captured in dates and names, though, is Kehlani’s confident-yet-relatable personality. Born a mix of black, white, Native American, Latino and Filipino, and having dated both boys and girls, Kehlani’s ace in the hole is an instantly universal honesty that never feels forced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Slim’s, though she commanded the crowd with party rockers befitting a hometown show, the set’s highlight was “\u003ca href=\"https://www.youtube.com/watch?v=DAm7P7g1iOM\" target=\"_blank\" rel=\"noopener\">The Letter\u003c/a>,” a piano ballad dedicated to her largely absent mother that asks, plainly, why she was even born: “If you weren’t gonna guide me, why bring me into the light?” Kehlani sang, to hushed silence, “Must have done something to make you want to run and hide / Why oh why didn’t you just live your life?”\u003c/p>\n\u003cp>After musical director Jahaan Sweet finished the final chords, and the crowd erupted, Kehlani held a fist to her chest. “I need you to understand how positive that is!” she said. “That we’re all a group of young people, being positive in the Bay Area, singing those words!”\u003c/p>\n\u003cfigure id=\"attachment_10864416\" 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/KehlaniDANCERS.jpg\" alt=\"Kehlani performs at Slim's, July 26, 2015. (Photo: Gabe Meline/KQED)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10864416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniDANCERS-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Slim’s, July 26, 2015. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The 26-song set included a guest turn by Ambré Perkins on a cover of Drake “Preach,” as well as a 10-minute intermission taken over by Shmoplife hitmaker Kool John and a crew of nine stage-crashers. But the stage belonged largely to Kehlani, her two backup dancers, and her emotive songs. Unlike Keyshia Cole, another Oakland-raised R&B singer with a hood-to-Hollywood story but whose musical output has grown more formulaic over time, Kehlani has an arsenal of personal, heartfelt material: “\u003ca href=\"https://www.youtube.com/watch?v=qEnXFLsoBxA\" target=\"_blank\" rel=\"noopener\">Bright\u003c/a>,” a laid-back, swinging you-are-beautiful affirmation; “\u003ca href=\"https://www.youtube.com/watch?v=Jhp2GHaq2CY\" target=\"_blank\" rel=\"noopener\">First Position\u003c/a>,” which guides an unsure female lover into the sheets; “\u003ca href=\"https://www.youtube.com/watch?v=gxHK6Irgt1Q\" target=\"_blank\" rel=\"noopener\">FWU\u003c/a>,” a lively celebration of monogamy; and current hit “\u003ca href=\"https://www.youtube.com/watch?v=0E1xYcXsGp0\" target=\"_blank\" rel=\"noopener\">The Way\u003c/a>,” a slow-burning, Chance-the-Rapper-featuring earworm that at Slim’s elicited a sustained eruption of adoring screams. \u003c/p>\n\u003cp>In time, Kehlani will put out a formal debut album. She’ll tour without prerecorded backing tracks, the only drawback of her set Sunday night. She’ll surely play larger theaters. But she’s already got what all the industry training in the world can’t provide — an indomitable spirit, the type that was on display while her squirtgun-toting road crew doused the crowd during the show’s jubilant four-on-the-floor closer, “\u003ca href=\"https://www.youtube.com/watch?v=6DMOJkqeSrQ\" target=\"_blank\" rel=\"noopener\">Alive\u003c/a>.”\u003c/p>\n\u003cp>“If you know my story, you know you can come from one thing, and turn it into something beautiful,” Kehlani said before leaving the stage. “And it’s a blessing to come back here and share this with y’all.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST.jpg\" alt=\"KehlaniSETLIST\" width=\"457\" height=\"640\" class=\"aligncenter size-full wp-image-10864422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KehlaniSETLIST-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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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",
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"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": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"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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"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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"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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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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