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"content": "\u003cp>When I stop by the \u003ca href=\"http://www.burgerrecords.org/\">Burger Records\u003c/a> store in Fullerton, founders Lee Rickard and Sean Bohrman are days from jetting off to France for Paris Fashion Week — guests of a \u003ca href=\"http://hedislimane.com/diary/\">well-known designer \u003c/a>and Burger super fan.\u003c/p>\n\u003cp>“Constantly, doors are being opened and we’re walking through them,” says Rickard, sinking into an old couch in Burger’s cramped but cozy back office. “Because people are into the bands we’re working with.”\u003c/p>\n\u003cp>A pricy tailored suit, a gift from that fashion designer, hangs at the foot of a makeshift bunk bed, even though everyday life is more Anaheim thrift store than Beverly Hills clothier.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/213883810″ 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>“We live here, so you’re in my room right now. This is my bed right here,” says Bohrman. “Lee lives in the front of the store here, on the couch, so we’re here all the time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bohrman, a self-described workaholic, says he typically works until about 3 or 4 in the morning, sleeps a few hours and then gets back to work.\u003c/p>\n\u003cp>“So that’s why we’ve been able to do so many releases and grow so quickly,” says Bohrman. “And that’s why we still live at the shop and don’t shower much.”\u003c/p>\n\u003cp>Virtually every waking moment, every penny earned, goes right back into growing the Burger empire, which now includes the record store and label, concert promotion and merchandise.\u003c/p>\n\u003cp>The Burger machine never sleeps.\u003c/p>\n\u003cp>“Oh yeah, we’re burned out,” confesses Rickard, while Bohrman fields another incoming phone call. “But we kind of thrive on insanity and delirium. We don’t really dwell on what we’re missing out on because we’re grateful that this is our life. We’re tastemakers or whatever, and we get to produce cool content.”\u003c/p>\n\u003cp>Rickard and Bohrman, now in their early 30s, launched Burger eight years ago when they couldn’t find a label to put out a single by their own band, Thee Makeout Party.\u003c/p>\n\u003cp>They began doing the same for other Orange County bands like \u003ca href=\"https://www.youtube.com/watch?v=a0l214b5fmw\">Audacity\u003c/a>.\u003c/p>\n\u003cp>Kyle Gibson, one of Audacity’s two guitarists, says the band was pretty much the first to get a record out on Burger back when the band was still in high school.\u003c/p>\n\u003cfigure id=\"attachment_10585896\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585896\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg\" alt=\"Screen shot from Audacity’s 2013 Jam in the Van video shoot. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from Audacity’s 2013 Jam in the Van video shoot. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the eight years since, Burger has released around 900 records, CDs and cassette tapes.\u003c/p>\n\u003cp>“With them it’s more handshake kind of stuff. They hate contracts and money and stuff,” Gibson says.\u003c/p>\n\u003cp>Audacity now has a more formal deal with another indie label, he says. But the close relationship with Burger continues.\u003c/p>\n\u003cp>“Well, they don’t hate money, but I’ve heard Sean say lots of times like, ‘Money sucks, that’s when everything starts to get weird,’ ” laughs Bohrman.\u003c/p>\n\u003cp>Burger’s bread and butter is the one-off deal; cheaply priced limited edition cassettes or 7-inch singles for scores of bands and even rival labels.\u003c/p>\n\u003cp>That includes heavy hitters like Weezer and Dave Grohl, Sub Pop records and Universal Music. Clients like it because Burger works fast, works cheap and answers the phone.\u003c/p>\n\u003cp>It’s become a one-stop distributor, manufacturer and promoter for acts that fit into the Burger aesthetic, which lean toward messy but urgent lo-fi garage rock with a bubble-gum heart.\u003c/p>\n\u003cp>“We like to keep it raw and real and teenage and fun and colorful,” says Rickard. “A lot of our stuff might not be perfectly manicured. But the sounds are top shelf.”\u003c/p>\n\u003cp>And you don’t even have to be affiliated with the label to be part of the Burger world.\u003c/p>\n\u003cp>This weekend’s Burger Bugaloo festival in Oakland is chock full of bands that simply reflect or have been inspired by Burger’s cheeky DIY swagger.\u003c/p>\n\u003cp>None so more than Bay Area garage punk legends \u003ca href=\"https://www.youtube.com/watch?v=RyN7ibB2UEc\">The Mummies \u003c/a>— playing a rare reunion show after disbanding nearly 25 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10585948\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585948\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg\" alt=\"Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1440x1071.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ll be honest with you. We thought we were playing some kind of thing for an actual burger chain,” says Mummies singer and organist Trent Ruane. “There is a little bit of disappointment there, but we’ve entered into a contract so we’ll go through with it, this time.”\u003c/p>\n\u003cp>Or at least he says it’s Ruane. It’s hard to know because he’s speaking on the phone from the Bay Area. The band member’s true identities have always been purposely obscured.\u003c/p>\n\u003cp>Since forming in the suburbs south of San Francisco in the late 1980s, the Mummies have swaddled themselves from head to toe in bandages when appearing in public.\u003c/p>\n\u003cfigure id=\"attachment_10585900\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585900\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg\" alt=\"Screenshot from a rare 1991 Mummies performance on a Southern California cable access variety show. \" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1440x1042.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from a rare 1991 Mummies performance on a Southern California cable access variety show. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think the Munsters meet the Beatles.\u003c/p>\n\u003cp>“Yeah, I always thought of it more as ‘Night of the Living Dead’ meets the Monkees,” Ruane drawls. “We were really looking for something that could be one of the dumbest things you can do.”\u003c/p>\n\u003cp>In a sense, the Mummies were too punk for punk.\u003c/p>\n\u003cp>Recordings were deliberately raw and sloppy. LPs and singles were pressed in small quantities. When they sold out, they stayed sold out.\u003c/p>\n\u003cp>Then the band vanished.\u003c/p>\n\u003cp>“We wanted to be the Mummies, and that was like our idol band in high school that we looked up to,” gushes Burger Bohrman.\u003c/p>\n\u003cp>“Just the attitude and the confidence, standing up tall and just like who cares if I got a snotty nose,” adds Rickard.\u003c/p>\n\u003cp>And like the Mummies, says Rickard, Burger kind of began as a joke with a crudely drawn hamburger scrawled on a piece of paper.\u003c/p>\n\u003cp>“And now 10 years later, I mean we’re not laughing to the bank yet but we’re finally looking at houses to rent,” says Rickard. “And hopefully we can get something, because I really want a kitchen.”\u003c/p>\n\u003cp>A kitchen does make sense, because the Burger is getting bigger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On top of a torrent of new releases and a new music shop in L.A., there’s talk of opening a Burger bar and grill — with a stage, of course.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I stop by the \u003ca href=\"http://www.burgerrecords.org/\">Burger Records\u003c/a> store in Fullerton, founders Lee Rickard and Sean Bohrman are days from jetting off to France for Paris Fashion Week — guests of a \u003ca href=\"http://hedislimane.com/diary/\">well-known designer \u003c/a>and Burger super fan.\u003c/p>\n\u003cp>“Constantly, doors are being opened and we’re walking through them,” says Rickard, sinking into an old couch in Burger’s cramped but cozy back office. “Because people are into the bands we’re working with.”\u003c/p>\n\u003cp>A pricy tailored suit, a gift from that fashion designer, hangs at the foot of a makeshift bunk bed, even though everyday life is more Anaheim thrift store than Beverly Hills clothier.\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/213883810″&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/213883810″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We live here, so you’re in my room right now. This is my bed right here,” says Bohrman. “Lee lives in the front of the store here, on the couch, so we’re here all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bohrman, a self-described workaholic, says he typically works until about 3 or 4 in the morning, sleeps a few hours and then gets back to work.\u003c/p>\n\u003cp>“So that’s why we’ve been able to do so many releases and grow so quickly,” says Bohrman. “And that’s why we still live at the shop and don’t shower much.”\u003c/p>\n\u003cp>Virtually every waking moment, every penny earned, goes right back into growing the Burger empire, which now includes the record store and label, concert promotion and merchandise.\u003c/p>\n\u003cp>The Burger machine never sleeps.\u003c/p>\n\u003cp>“Oh yeah, we’re burned out,” confesses Rickard, while Bohrman fields another incoming phone call. “But we kind of thrive on insanity and delirium. We don’t really dwell on what we’re missing out on because we’re grateful that this is our life. We’re tastemakers or whatever, and we get to produce cool content.”\u003c/p>\n\u003cp>Rickard and Bohrman, now in their early 30s, launched Burger eight years ago when they couldn’t find a label to put out a single by their own band, Thee Makeout Party.\u003c/p>\n\u003cp>They began doing the same for other Orange County bands like \u003ca href=\"https://www.youtube.com/watch?v=a0l214b5fmw\">Audacity\u003c/a>.\u003c/p>\n\u003cp>Kyle Gibson, one of Audacity’s two guitarists, says the band was pretty much the first to get a record out on Burger back when the band was still in high school.\u003c/p>\n\u003cfigure id=\"attachment_10585896\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585896\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg\" alt=\"Screen shot from Audacity’s 2013 Jam in the Van video shoot. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from Audacity’s 2013 Jam in the Van video shoot. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the eight years since, Burger has released around 900 records, CDs and cassette tapes.\u003c/p>\n\u003cp>“With them it’s more handshake kind of stuff. They hate contracts and money and stuff,” Gibson says.\u003c/p>\n\u003cp>Audacity now has a more formal deal with another indie label, he says. But the close relationship with Burger continues.\u003c/p>\n\u003cp>“Well, they don’t hate money, but I’ve heard Sean say lots of times like, ‘Money sucks, that’s when everything starts to get weird,’ ” laughs Bohrman.\u003c/p>\n\u003cp>Burger’s bread and butter is the one-off deal; cheaply priced limited edition cassettes or 7-inch singles for scores of bands and even rival labels.\u003c/p>\n\u003cp>That includes heavy hitters like Weezer and Dave Grohl, Sub Pop records and Universal Music. Clients like it because Burger works fast, works cheap and answers the phone.\u003c/p>\n\u003cp>It’s become a one-stop distributor, manufacturer and promoter for acts that fit into the Burger aesthetic, which lean toward messy but urgent lo-fi garage rock with a bubble-gum heart.\u003c/p>\n\u003cp>“We like to keep it raw and real and teenage and fun and colorful,” says Rickard. “A lot of our stuff might not be perfectly manicured. But the sounds are top shelf.”\u003c/p>\n\u003cp>And you don’t even have to be affiliated with the label to be part of the Burger world.\u003c/p>\n\u003cp>This weekend’s Burger Bugaloo festival in Oakland is chock full of bands that simply reflect or have been inspired by Burger’s cheeky DIY swagger.\u003c/p>\n\u003cp>None so more than Bay Area garage punk legends \u003ca href=\"https://www.youtube.com/watch?v=RyN7ibB2UEc\">The Mummies \u003c/a>— playing a rare reunion show after disbanding nearly 25 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10585948\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585948\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg\" alt=\"Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1440x1071.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ll be honest with you. We thought we were playing some kind of thing for an actual burger chain,” says Mummies singer and organist Trent Ruane. “There is a little bit of disappointment there, but we’ve entered into a contract so we’ll go through with it, this time.”\u003c/p>\n\u003cp>Or at least he says it’s Ruane. It’s hard to know because he’s speaking on the phone from the Bay Area. The band member’s true identities have always been purposely obscured.\u003c/p>\n\u003cp>Since forming in the suburbs south of San Francisco in the late 1980s, the Mummies have swaddled themselves from head to toe in bandages when appearing in public.\u003c/p>\n\u003cfigure id=\"attachment_10585900\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585900\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg\" alt=\"Screenshot from a rare 1991 Mummies performance on a Southern California cable access variety show. \" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1440x1042.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from a rare 1991 Mummies performance on a Southern California cable access variety show. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think the Munsters meet the Beatles.\u003c/p>\n\u003cp>“Yeah, I always thought of it more as ‘Night of the Living Dead’ meets the Monkees,” Ruane drawls. “We were really looking for something that could be one of the dumbest things you can do.”\u003c/p>\n\u003cp>In a sense, the Mummies were too punk for punk.\u003c/p>\n\u003cp>Recordings were deliberately raw and sloppy. LPs and singles were pressed in small quantities. When they sold out, they stayed sold out.\u003c/p>\n\u003cp>Then the band vanished.\u003c/p>\n\u003cp>“We wanted to be the Mummies, and that was like our idol band in high school that we looked up to,” gushes Burger Bohrman.\u003c/p>\n\u003cp>“Just the attitude and the confidence, standing up tall and just like who cares if I got a snotty nose,” adds Rickard.\u003c/p>\n\u003cp>And like the Mummies, says Rickard, Burger kind of began as a joke with a crudely drawn hamburger scrawled on a piece of paper.\u003c/p>\n\u003cp>“And now 10 years later, I mean we’re not laughing to the bank yet but we’re finally looking at houses to rent,” says Rickard. “And hopefully we can get something, because I really want a kitchen.”\u003c/p>\n\u003cp>A kitchen does make sense, because the Burger is getting bigger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On top of a torrent of new releases and a new music shop in L.A., there’s talk of opening a Burger bar and grill — with a stage, of course.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Viracocha, Mission District Music Venue, to Close",
"headTitle": "Viracocha, Mission District Music Venue, to Close | KQED",
"content": "\u003cp>Viracocha, the basement venue on Valencia Street that’s hosted live music for the past five and a half years, is set to close.\u003c/p>\n\u003cp>The Mission District spot has been plagued with ongoing financial trouble — a year and a half ago, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>SF Weekly\u003c/em>\u003c/a>, it faced $40,000 in debt while being charged $10,000 in monthly rent.\u003c/p>\n\u003cp>Now, according to emails from bands playing the venue, and a flurry of \u003ca href=\"https://twitter.com/BrownBagConspir/status/616364329160409088\" target=\"_blank\" rel=\"noopener\">reports on social media\u003c/a>, the space will close its doors in the next two months. Viracocha’s official website is \u003ca href=\"http://viracochasf.com/\" target=\"_blank\" rel=\"noopener\">currently down\u003c/a>.\u003c/p>\n\u003cp>While the rumor mill has churned about the beloved spot for months, owner and operator Jonathan Siegel has been intentionally quiet about the closure. In mid-June, KQED contacted Siegel, who did not deny the venue’s impending closure but declined official comment.\u003c/p>\n\u003cfigure id=\"attachment_10813156\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10813156\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/viracocha-waltz.jpg\" alt=\"A couple dances upstairs at Viracocha. \" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-waltz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-waltz-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A couple dances upstairs at Viracocha. (Photo: Pete Lee)\u003c/figcaption>\u003c/figure>\n\u003cp>Viracocha joins a list of San Francisco music venues that have shuttered in recent years, including Kimo’s, \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">The Addition\u003c/a>, the Red Devil Lounge, and soon the Elbo Room, which is scheduled to close \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">later this year\u003c/a>. Nearby development has also threatened the operations of the Bottom of the Hill and Slim’s, resulting in legislation, \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">passed in May\u003c/a>, to protect nightclubs from the friction that historically comes with new condos and their residents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Viracocha is no ordinary nightclub.\u003c/p>\n\u003cp>Upstairs, the space operates primarily as an antique store. A typewriter repair service and a free lending library have also shared the space. Its bathroom was once named among 10 finalists in a “Best Bathroom in America” contest.\u003c/p>\n\u003cp>Downstairs, Viracocha hosts not just live music but numerous reading events, including a series called “You Are Going to Die,” where participants share intense stories about death. Longtime San Francisco politician Matt Gonzalez has taught classes downstairs for the Free University of San Francisco.\u003c/p>\n\u003cp>In short, Viracocha has been a de facto community center, where anyone with an idea could find a home for it, and where, often, one needing temporary employment might be able to find it behind Viracocha’s antique cash register. Last year, to journalist Kate Conger, Siegel \u003ca href=\"http://www.sfweekly.com/shookdown/2014/09/10/underground-no-more-viracocha-gets-its-venue-permit\" target=\"_blank\" rel=\"noopener\">referred to Viracocha\u003c/a> as a “cultural advocacy group.”\u003c/p>\n\u003cfigure id=\"attachment_10813157\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10813157\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/viracocha-bathroom-wide-2.jpg\" alt=\"Viracocha's famous bathroom.\" width=\"640\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-bathroom-wide-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-bathroom-wide-2-400x256.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Viracocha’s famous bathroom. (Photo: Pete Lee)\u003c/figcaption>\u003c/figure>\n\u003cp>But the space will be remembered most fondly by the San Francisco music community, many bands from which performed on the small, below-ground-level wooden stage. \u003ca href=\"http://megankeely.com/post/85657220099/an-open-letter-of-support-for-viracocha\" target=\"_blank\" rel=\"noopener\">Megan Keely\u003c/a> and \u003ca href=\"http://www.npr.org/sections/allsongs/2012/08/06/158207503/first-watch-wolf-larsen-if-i-be-wrong\" target=\"_blank\" rel=\"noopener\">Wolf Larsen\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=4-MNi7jwphI\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a>, all Bay Area artists, have shot music videos at the space, as have nationally recognized hip-hop duo \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener\">Atmosphere\u003c/a>.\u003c/p>\n\u003cp>Remarkably, Viracocha’s music events continued for several years without proper permitting, even as the fire department periodically visited the space to stay updated on the building’s layout. In September of last year, the venue finally acquired the required permits in an effort to stay afloat, paying for costly updates to the building and adding to its debt along the way.\u003c/p>\n\u003cp>Amidst the permitting process, an unlikely vignette provided a microcosm of the venue’s purpose and support base: during a 2013 City Hall meeting, a police officer from the Mission precinct declared her on-the-record support of Viracocha — spoken in dramatic iambic pentameter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Viracocha’s upcoming calendar currently \u003ca href=\"http://sanfrancisco.eventful.com/venues/viracocha-/V0-001-003867631-9\" target=\"_blank\" rel=\"noopener\">runs through July\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The beloved under-the-radar music venue on Valencia Street prepares to close after five years of hosting live music and other cultural events.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Viracocha, the basement venue on Valencia Street that’s hosted live music for the past five and a half years, is set to close.\u003c/p>\n\u003cp>The Mission District spot has been plagued with ongoing financial trouble — a year and a half ago, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>SF Weekly\u003c/em>\u003c/a>, it faced $40,000 in debt while being charged $10,000 in monthly rent.\u003c/p>\n\u003cp>Now, according to emails from bands playing the venue, and a flurry of \u003ca href=\"https://twitter.com/BrownBagConspir/status/616364329160409088\" target=\"_blank\" rel=\"noopener\">reports on social media\u003c/a>, the space will close its doors in the next two months. Viracocha’s official website is \u003ca href=\"http://viracochasf.com/\" target=\"_blank\" rel=\"noopener\">currently down\u003c/a>.\u003c/p>\n\u003cp>While the rumor mill has churned about the beloved spot for months, owner and operator Jonathan Siegel has been intentionally quiet about the closure. In mid-June, KQED contacted Siegel, who did not deny the venue’s impending closure but declined official comment.\u003c/p>\n\u003cfigure id=\"attachment_10813156\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10813156\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/viracocha-waltz.jpg\" alt=\"A couple dances upstairs at Viracocha. \" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-waltz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-waltz-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A couple dances upstairs at Viracocha. (Photo: Pete Lee)\u003c/figcaption>\u003c/figure>\n\u003cp>Viracocha joins a list of San Francisco music venues that have shuttered in recent years, including Kimo’s, \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">The Addition\u003c/a>, the Red Devil Lounge, and soon the Elbo Room, which is scheduled to close \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">later this year\u003c/a>. Nearby development has also threatened the operations of the Bottom of the Hill and Slim’s, resulting in legislation, \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">passed in May\u003c/a>, to protect nightclubs from the friction that historically comes with new condos and their residents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Viracocha is no ordinary nightclub.\u003c/p>\n\u003cp>Upstairs, the space operates primarily as an antique store. A typewriter repair service and a free lending library have also shared the space. Its bathroom was once named among 10 finalists in a “Best Bathroom in America” contest.\u003c/p>\n\u003cp>Downstairs, Viracocha hosts not just live music but numerous reading events, including a series called “You Are Going to Die,” where participants share intense stories about death. Longtime San Francisco politician Matt Gonzalez has taught classes downstairs for the Free University of San Francisco.\u003c/p>\n\u003cp>In short, Viracocha has been a de facto community center, where anyone with an idea could find a home for it, and where, often, one needing temporary employment might be able to find it behind Viracocha’s antique cash register. Last year, to journalist Kate Conger, Siegel \u003ca href=\"http://www.sfweekly.com/shookdown/2014/09/10/underground-no-more-viracocha-gets-its-venue-permit\" target=\"_blank\" rel=\"noopener\">referred to Viracocha\u003c/a> as a “cultural advocacy group.”\u003c/p>\n\u003cfigure id=\"attachment_10813157\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10813157\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/viracocha-bathroom-wide-2.jpg\" alt=\"Viracocha's famous bathroom.\" width=\"640\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-bathroom-wide-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/viracocha-bathroom-wide-2-400x256.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Viracocha’s famous bathroom. (Photo: Pete Lee)\u003c/figcaption>\u003c/figure>\n\u003cp>But the space will be remembered most fondly by the San Francisco music community, many bands from which performed on the small, below-ground-level wooden stage. \u003ca href=\"http://megankeely.com/post/85657220099/an-open-letter-of-support-for-viracocha\" target=\"_blank\" rel=\"noopener\">Megan Keely\u003c/a> and \u003ca href=\"http://www.npr.org/sections/allsongs/2012/08/06/158207503/first-watch-wolf-larsen-if-i-be-wrong\" target=\"_blank\" rel=\"noopener\">Wolf Larsen\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=4-MNi7jwphI\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a>, all Bay Area artists, have shot music videos at the space, as have nationally recognized hip-hop duo \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener\">Atmosphere\u003c/a>.\u003c/p>\n\u003cp>Remarkably, Viracocha’s music events continued for several years without proper permitting, even as the fire department periodically visited the space to stay updated on the building’s layout. In September of last year, the venue finally acquired the required permits in an effort to stay afloat, paying for costly updates to the building and adding to its debt along the way.\u003c/p>\n\u003cp>Amidst the permitting process, an unlikely vignette provided a microcosm of the venue’s purpose and support base: during a 2013 City Hall meeting, a police officer from the Mission precinct declared her on-the-record support of Viracocha — spoken in dramatic iambic pentameter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Viracocha’s upcoming calendar currently \u003ca href=\"http://sanfrancisco.eventful.com/venues/viracocha-/V0-001-003867631-9\" target=\"_blank\" rel=\"noopener\">runs through July\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Zen and the Art of Partying with Andrew W.K.",
"headTitle": "Zen and the Art of Partying with Andrew W.K. | 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/pizza-party-with-andrew-w-k/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Pizza Party With Andrew W.K.\u003c/h2>\n\u003cdiv class=\"event-desc\">Party anthem king Andrew W.K. spins the jams during a (no joke) pizza party\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">1015 Folsom\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-party-with-andrew-w-k/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>From the moment Andrew W.K. planted his party flag in 2001 with the breakthrough album \u003ci>I Get Wet\u003c/i>, and announced to the world that “\u003ca href=\"https://www.youtube.com/watch?v=WccfbPQNMbg\" target=\"_blank\" rel=\"noopener\">When it’s time to party we will always party hard\u003c/a>,” he might as well have written on his signature white t-shirt: “Never take me seriously.”\u003c/p>\n\u003cp>For his part, W.K. (born Andrew Wilkes-Krier, in Stanford, Calif.) has embraced that generalization, doing interviews where he makes \u003ca href=\"https://www.youtube.com/watch?v=EqOTU89cgC4\" target=\"_blank\" rel=\"noopener\">silly faces while being asked serious questions\u003c/a> and performing a ridiculous version of a weather forecast on a morning news show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RdPB-hi26Yk\u003c/p>\n\u003cp>Eventually, those in power ignored the fact that W.K. is first and foremost a musician, and began allowing him other venues in which to be a character. It started with several TV shows, grew to \u003ca href=\"http://www.villagevoice.com/authors/andrew-w-k\" target=\"_blank\" rel=\"noopener\">advice columns\u003c/a> and \u003ca href=\"https://soundcloud.com/america-w-k\" target=\"_blank\" rel=\"noopener\">podcasts\u003c/a>, and even expanded to \u003ca href=\"http://andrewwk.com/about/page/6\" target=\"_blank\" rel=\"noopener\">college lectures\u003c/a>.\u003c/p>\n\u003cp>With each new medium, W.K. has never stopped preaching the power of “partying,” but what started as something seemingly innocuous and goofy became something more profound: a message of \u003ca href=\"http://www.villagevoice.com/music/ask-andrew-wk-can-you-help-me-be-positive-7212579\" target=\"_blank\" rel=\"noopener\">absolute positivity\u003c/a>. Even his \u003ca href=\"https://twitter.com/AndrewWK\" target=\"_blank\" rel=\"noopener\">Twitter feed\u003c/a> is full of golden life advice, dispensed in bite-sized “party tips.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/AndrewWK/status/614481748227964928\u003c/p>\n\u003cp>When W.K.’s people reached out to me for an interview, I hoped to speak not with the goofball Andrew W.K. character but with the wise Andrew W.K. — he has admitted he plays a character in \u003ca href=\"http://andrewwk.com/about/page/12\" target=\"_blank\" rel=\"noopener\">one of his lectures\u003c/a> — even though he was promoting a pizza party. Luckily, it wasn’t hard push aside the funnyman and speak to the zen master, who lives just beneath the surface of his party-boy persona.\u003c/p>\n\u003cp>\u003cb>You were born in Stanford. Did your dad teach at Stanford University?\u003c/b>\u003c/p>\n\u003cp>He taught there and he taught at Cal Tech. And UCLA.\u003c/p>\n\u003cp>\u003cb>And now he’s a well-known law professor at the University of Michigan Law School. Did having a law professor in the family help you develop communication skills?\u003c/b>\u003c/p>\n\u003cp>He’s a great teacher. I’ve sat in his classes and he’s able to express very complicated ideas — certainly much more complicated ideas than partying. It may seem like I’m good at communicating, but that’s because of what my subject is; it does all the work for me. It’s such an appealing subject because it’s fun, and anybody can talk about partying and make it sound cool. Now talking about contracts and property law, that takes some real talent to make that interesting.\u003c/p>\n\u003cp>\u003cb>When \u003ci>I Get Wet\u003c/i> came out, it was like a shotgun blast from the speakers; the production was so intense. What was the vision for that record, and was the sound/production a part of that?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10806073\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10806073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AndrewWK2-800x532.png\" alt=\"Live in New York City on New Years Eve, 2013. (Photo by Nicole Mago)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK2-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK2-400x266.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK2.png 895w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Live in New York City on New Years Eve, 2013. (Photo by Nicole Mago)\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted it to be as exciting and energizing as I could possibly imagine something being, and at the same time just fulfill its desire to exist. Sometimes there’s just something that wants to be what it is and you’re asked to help make it happen. It was a combination of trying to make songs that made me excited and make the songs that were excited about existing. In a weird way, I don’t feel like I made that album. That album made me; that started my whole adventure. And it’s hard to even take credit for it that way because, like a lot of people say, it came from some place beyond. Out of anything that I’ve ever gotten to be a part of, that is certainly the case with that record. It emerged, and I was just there, lucky enough to help it come out of the darkness.\u003c/p>\n\u003cp>\u003cb>You seem to have such a clear vision with all of your work, and to hear you say that your first album was driving itself rather than you pursuing something you envisioned — that’s quite surprising.\u003c/b>\u003c/p>\n\u003cp>It doesn’t feel the greatest to say that but, if I’m to be honest, that’s just what happened. I used to think I was in control of all the stuff I did, and I could really take responsibility. I decided this, I decided that. But while that felt good — it made me feel proud and powerful in certain ways — it just wasn’t really the case, because if I couldn’t do that again, why did it happen then? Why did it align with so many other things that happened? Why did so many other people that I had never even met come into that project, get involved and have such an impact on it?\u003c/p>\n\u003cp>In the end, there were too many factors out of my control for me to take credit for any of it. I showed up and did the best I possibly could, and you should always try to put everything you have into the opportunity in front of you. But it would be dishonest for me to say, “I made that.” It sort of made itself, or someone else made it. Or some other thing made it.\u003c/p>\n\u003cp>\u003cb>Interesting.\u003c/b>\u003c/p>\n\u003cp>I’m just trying to face these things with sincerity. It’s very easy to lose your way and lose sense of yourself in what you’re doing.\u003c/p>\n\u003cp>\u003cb>Other than age, has there been anything that inspired this mature outlook on life?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10806074\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10806074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AndrewWK3-800x533.jpg\" alt=\"Andrew W.K. speaking at the Baltimore School of the Arts in 2014. (Photo by Olivia Obineme)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK3.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew W.K. speaking at the Baltimore School of the Arts in 2014. (Photo by Olivia Obineme)\u003c/figcaption>\u003c/figure>\n\u003cp>I used to constantly fight against everything, which had its moments. It was exciting, and a lot of times it was emotionally stimulating — I mean really dramatic. But then I realized it had nothing to do with anything. It really accomplished very little other than to sort of distract and entertain myself, and give myself a sense of purpose and great achievement — or great loss, depending what was going on.\u003c/p>\n\u003cp>But when I look back, it didn’t have any impact on anything else, negative or positive. It was only really going on in my mind. All this striving, scheming, plotting and planning — it had nothing to do with anything. So I just stopped spending all the energy on that, and just started showing up for my assignments and doing them.\u003c/p>\n\u003caside class=\"pullquote alignright\">“I used to think that you’re supposed to do what you want, but now I know you’re supposed to do what you’re meant to do.”\u003ccite>Andrew W.K.\u003c/cite>\u003c/aside>\n\u003cp>If you’ve been in school and didn’t like it much, you really want to get away from that approach. But no longer is it the school and those teachers giving me assignments; now it’s life, and the world and everyone around giving me assignments. And those are good people and good forces to have be your teachers. That’s a good curriculum.\u003c/p>\n\u003cp>\u003cb>That actually demonstrates why school is structured like it is: 1. In life, sometimes you’ll need to be in places which you might not like, but you still need to be there; and 2. Just because some teachers aren’t great, others are.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10806075\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10806075\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AndrewWK4.jpg\" alt=\"Andrew W.K. and his full band performs at Download Festival in Derbyshire, UK on 6/13/15. (Photo by Dave Musson.)\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK4.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK4-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Andrew W.K. and his full band performs at Download Festival in Derbyshire, UK on 6/13/15. (Photo by Dave Musson.)\u003c/figcaption>\u003c/figure>\n\u003cp>Exactly, very well said. You’ve got to show up whether you like it or not and try to do what you’re supposed to do. I used to think that you’re supposed to do what you \u003ci>want\u003c/i>, but now I know you’re supposed to do what you’re meant to do. Having that reveal itself to you can be painful, it can be discouraging, it can even be depressing! But if you can somehow develop the strength of character and personality that allows you to just do what you really should do — what you, in particular, should do in the world — then whether it’s hard or not, or even fun or not, you know you’re doing what needs to be done.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A flower may not want to bloom. It may say, “Hey, I want to stay in this bud forever. It’s cozy, I’m protected, no bumblebees are going to try to land on me. I’m gonna stay like this.” But deep down inside it knows that that is just a part of its process. It’s meant to blossom, even if it’s painful, even if it exposes itself to the entire world — and to bumblebees. At some point it finds satisfaction in following the path that was set out for that flower. I’m no different; I’m trying to blossom here in my own way — and I encourage everyone else to do so.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-party-with-andrew-w-k/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Pizza Party With Andrew W.K.\u003c/h2>\n\u003cdiv class=\"event-desc\">Party anthem king Andrew W.K. spins the jams during a (no joke) pizza party\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">1015 Folsom\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-party-with-andrew-w-k/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>From the moment Andrew W.K. planted his party flag in 2001 with the breakthrough album \u003ci>I Get Wet\u003c/i>, and announced to the world that “\u003ca href=\"https://www.youtube.com/watch?v=WccfbPQNMbg\" target=\"_blank\" rel=\"noopener\">When it’s time to party we will always party hard\u003c/a>,” he might as well have written on his signature white t-shirt: “Never take me seriously.”\u003c/p>\n\u003cp>For his part, W.K. (born Andrew Wilkes-Krier, in Stanford, Calif.) has embraced that generalization, doing interviews where he makes \u003ca href=\"https://www.youtube.com/watch?v=EqOTU89cgC4\" target=\"_blank\" rel=\"noopener\">silly faces while being asked serious questions\u003c/a> and performing a ridiculous version of a weather forecast on a morning news show.\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/RdPB-hi26Yk'\n title='//www.youtube.com/embed/RdPB-hi26Yk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eventually, those in power ignored the fact that W.K. is first and foremost a musician, and began allowing him other venues in which to be a character. It started with several TV shows, grew to \u003ca href=\"http://www.villagevoice.com/authors/andrew-w-k\" target=\"_blank\" rel=\"noopener\">advice columns\u003c/a> and \u003ca href=\"https://soundcloud.com/america-w-k\" target=\"_blank\" rel=\"noopener\">podcasts\u003c/a>, and even expanded to \u003ca href=\"http://andrewwk.com/about/page/6\" target=\"_blank\" rel=\"noopener\">college lectures\u003c/a>.\u003c/p>\n\u003cp>With each new medium, W.K. has never stopped preaching the power of “partying,” but what started as something seemingly innocuous and goofy became something more profound: a message of \u003ca href=\"http://www.villagevoice.com/music/ask-andrew-wk-can-you-help-me-be-positive-7212579\" target=\"_blank\" rel=\"noopener\">absolute positivity\u003c/a>. Even his \u003ca href=\"https://twitter.com/AndrewWK\" target=\"_blank\" rel=\"noopener\">Twitter feed\u003c/a> is full of golden life advice, dispensed in bite-sized “party tips.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>When W.K.’s people reached out to me for an interview, I hoped to speak not with the goofball Andrew W.K. character but with the wise Andrew W.K. — he has admitted he plays a character in \u003ca href=\"http://andrewwk.com/about/page/12\" target=\"_blank\" rel=\"noopener\">one of his lectures\u003c/a> — even though he was promoting a pizza party. Luckily, it wasn’t hard push aside the funnyman and speak to the zen master, who lives just beneath the surface of his party-boy persona.\u003c/p>\n\u003cp>\u003cb>You were born in Stanford. Did your dad teach at Stanford University?\u003c/b>\u003c/p>\n\u003cp>He taught there and he taught at Cal Tech. And UCLA.\u003c/p>\n\u003cp>\u003cb>And now he’s a well-known law professor at the University of Michigan Law School. Did having a law professor in the family help you develop communication skills?\u003c/b>\u003c/p>\n\u003cp>He’s a great teacher. I’ve sat in his classes and he’s able to express very complicated ideas — certainly much more complicated ideas than partying. It may seem like I’m good at communicating, but that’s because of what my subject is; it does all the work for me. It’s such an appealing subject because it’s fun, and anybody can talk about partying and make it sound cool. Now talking about contracts and property law, that takes some real talent to make that interesting.\u003c/p>\n\u003cp>\u003cb>When \u003ci>I Get Wet\u003c/i> came out, it was like a shotgun blast from the speakers; the production was so intense. What was the vision for that record, and was the sound/production a part of that?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10806073\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10806073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AndrewWK2-800x532.png\" alt=\"Live in New York City on New Years Eve, 2013. (Photo by Nicole Mago)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK2-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK2-400x266.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK2.png 895w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Live in New York City on New Years Eve, 2013. (Photo by Nicole Mago)\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted it to be as exciting and energizing as I could possibly imagine something being, and at the same time just fulfill its desire to exist. Sometimes there’s just something that wants to be what it is and you’re asked to help make it happen. It was a combination of trying to make songs that made me excited and make the songs that were excited about existing. In a weird way, I don’t feel like I made that album. That album made me; that started my whole adventure. And it’s hard to even take credit for it that way because, like a lot of people say, it came from some place beyond. Out of anything that I’ve ever gotten to be a part of, that is certainly the case with that record. It emerged, and I was just there, lucky enough to help it come out of the darkness.\u003c/p>\n\u003cp>\u003cb>You seem to have such a clear vision with all of your work, and to hear you say that your first album was driving itself rather than you pursuing something you envisioned — that’s quite surprising.\u003c/b>\u003c/p>\n\u003cp>It doesn’t feel the greatest to say that but, if I’m to be honest, that’s just what happened. I used to think I was in control of all the stuff I did, and I could really take responsibility. I decided this, I decided that. But while that felt good — it made me feel proud and powerful in certain ways — it just wasn’t really the case, because if I couldn’t do that again, why did it happen then? Why did it align with so many other things that happened? Why did so many other people that I had never even met come into that project, get involved and have such an impact on it?\u003c/p>\n\u003cp>In the end, there were too many factors out of my control for me to take credit for any of it. I showed up and did the best I possibly could, and you should always try to put everything you have into the opportunity in front of you. But it would be dishonest for me to say, “I made that.” It sort of made itself, or someone else made it. Or some other thing made it.\u003c/p>\n\u003cp>\u003cb>Interesting.\u003c/b>\u003c/p>\n\u003cp>I’m just trying to face these things with sincerity. It’s very easy to lose your way and lose sense of yourself in what you’re doing.\u003c/p>\n\u003cp>\u003cb>Other than age, has there been anything that inspired this mature outlook on life?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10806074\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10806074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AndrewWK3-800x533.jpg\" alt=\"Andrew W.K. speaking at the Baltimore School of the Arts in 2014. (Photo by Olivia Obineme)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK3.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew W.K. speaking at the Baltimore School of the Arts in 2014. (Photo by Olivia Obineme)\u003c/figcaption>\u003c/figure>\n\u003cp>I used to constantly fight against everything, which had its moments. It was exciting, and a lot of times it was emotionally stimulating — I mean really dramatic. But then I realized it had nothing to do with anything. It really accomplished very little other than to sort of distract and entertain myself, and give myself a sense of purpose and great achievement — or great loss, depending what was going on.\u003c/p>\n\u003cp>But when I look back, it didn’t have any impact on anything else, negative or positive. It was only really going on in my mind. All this striving, scheming, plotting and planning — it had nothing to do with anything. So I just stopped spending all the energy on that, and just started showing up for my assignments and doing them.\u003c/p>\n\u003caside class=\"pullquote alignright\">“I used to think that you’re supposed to do what you want, but now I know you’re supposed to do what you’re meant to do.”\u003ccite>Andrew W.K.\u003c/cite>\u003c/aside>\n\u003cp>If you’ve been in school and didn’t like it much, you really want to get away from that approach. But no longer is it the school and those teachers giving me assignments; now it’s life, and the world and everyone around giving me assignments. And those are good people and good forces to have be your teachers. That’s a good curriculum.\u003c/p>\n\u003cp>\u003cb>That actually demonstrates why school is structured like it is: 1. In life, sometimes you’ll need to be in places which you might not like, but you still need to be there; and 2. Just because some teachers aren’t great, others are.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10806075\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10806075\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AndrewWK4.jpg\" alt=\"Andrew W.K. and his full band performs at Download Festival in Derbyshire, UK on 6/13/15. (Photo by Dave Musson.)\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK4.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/AndrewWK4-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Andrew W.K. and his full band performs at Download Festival in Derbyshire, UK on 6/13/15. (Photo by Dave Musson.)\u003c/figcaption>\u003c/figure>\n\u003cp>Exactly, very well said. You’ve got to show up whether you like it or not and try to do what you’re supposed to do. I used to think that you’re supposed to do what you \u003ci>want\u003c/i>, but now I know you’re supposed to do what you’re meant to do. Having that reveal itself to you can be painful, it can be discouraging, it can even be depressing! But if you can somehow develop the strength of character and personality that allows you to just do what you really should do — what you, in particular, should do in the world — then whether it’s hard or not, or even fun or not, you know you’re doing what needs to be done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A flower may not want to bloom. It may say, “Hey, I want to stay in this bud forever. It’s cozy, I’m protected, no bumblebees are going to try to land on me. I’m gonna stay like this.” But deep down inside it knows that that is just a part of its process. It’s meant to blossom, even if it’s painful, even if it exposes itself to the entire world — and to bumblebees. At some point it finds satisfaction in following the path that was set out for that flower. I’m no different; I’m trying to blossom here in my own way — and I encourage everyone else to do so.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> is already a strong contender for album of the year, and its latest video has just dropped: “Alright,” filmed largely on Treasure Island, smack in the middle of the Bay Area.\u003c/p>\n\u003cp>The \u003cem>East Bay Express\u003c/em> posted an \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/05/22/kendrick-lamar-shot-a-music-video-on-treasure-island-today\" target=\"_blank\" rel=\"noopener\">in-person report\u003c/a> from last month’s video shoot, a day-long affair which boasted over a hundred local extras, including Oakland hip-hop duo Los Rakas.\u003c/p>\n\u003cp>Kudos to director Colin Tilley for repping the Bay, with skyline shots and wide-angle pans of local residents. Watch the politically-charged longform video below.\u003c/p>\n\u003cp>\u003cem>Note: Video contains explicit language.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Z-48u_uWMHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> is already a strong contender for album of the year, and its latest video has just dropped: “Alright,” filmed largely on Treasure Island, smack in the middle of the Bay Area.\u003c/p>\n\u003cp>The \u003cem>East Bay Express\u003c/em> posted an \u003ca href=\"http://www.eastbayexpress.com/CultureSpyBlog/archives/2015/05/22/kendrick-lamar-shot-a-music-video-on-treasure-island-today\" target=\"_blank\" rel=\"noopener\">in-person report\u003c/a> from last month’s video shoot, a day-long affair which boasted over a hundred local extras, including Oakland hip-hop duo Los Rakas.\u003c/p>\n\u003cp>Kudos to director Colin Tilley for repping the Bay, with skyline shots and wide-angle pans of local residents. Watch the politically-charged longform video below.\u003c/p>\n\u003cp>\u003cem>Note: Video contains explicit language.\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/Z-48u_uWMHY'\n title='//www.youtube.com/embed/Z-48u_uWMHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Two New Albums Are Latest Blooms From S.F.'s Red Poppy Art House",
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"content": "\u003cp>Square foot for square foot, no venue in San Francisco has made a bigger impact over the past 15 years than the \u003ca href=\"http://redpoppyarthouse.org/\">Red Poppy Art House\u003c/a>. A storefront Mission District performance space and studio run on a shoestring budget, the venue has nurtured a fascinating array of hybrid artists, such as the Carnatic jazz of VidyA and the Ethio-soul of Meklit. Two recent albums by artists associated with the Red Poppy make it clear that the club hasn’t lost its mojo.\u003c/p>\n\u003cp>For her first album, \u003ca href=\"http://www.tiffanyaustinmusic.com/\">Tiffany Austin \u003c/a>relies on a time-tested strategy that alto sax great Jackie McLean once described as “new wine in old bottles.” A graduate of the UC Berkeley School of Law, she’s spent the past few years paying dues on the Bay Area jazz scene, singing with established bandleaders like bassist \u003ca href=\"http://www.marcusshelby.com/\">Marcus Shelby\u003c/a>, trombonist \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\">Adam Theis\u003c/a> and saxophonist Howard Wiley.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/212163759\" 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>Her new album, \"Nothing But Soul,\" came out of a 2013 SFJAZZ Hotplate concert exploring the songs of Hoagy Carmichael. She and Wiley came up with unfussy arrangements that refashioned some of Carmichael’s best-loved songs to fit the luxuriant contours of her voice.\u003c/p>\n\u003cp>She kicks off the album with a casually swinging version of “Stardust,” set to a lilting two-beat feel that doesn’t dilute the enduring power of Carmichael’s soaring melody. Her fleet and almost frantic take on “Baltimore Oriole” captures the bleak vision of abandonment behind the cutesy avian lyrics. The album’s most unexpected track is her barrelhouse sprint through Johnny Cash’s “I Walk the Line,” a tune that Carmichael evidentially covered in 1956.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cyGFpiZW5Do\u003c/p>\n\u003cp>Reimagining standards is just one facet of Austin’s creativity. She spent a year as artist in residence at the Red Poppy Art House, putting her own spin on songs gleaned from early Creole recordings from Louisiana. Accompanied by some of the best jazz musicians in the Bay Area -- pianist Glen Pearson, bassist Ron Belcher and drummer Sly Randolph -- Austin delivers an impressive debut that only hints at her potential.\u003c/p>\n\u003cfigure id=\"attachment_10578476\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10578476\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RobReich-800x554.jpg\" alt=\"Oakland accordionist Rob Reich.\" width=\"800\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-800x554.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-400x277.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1440x997.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1180x817.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-960x665.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland accordionist Rob Reich \u003ccite>(Courtesy Rob Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Austin employs a canny strategy in approaching familiar material, Oakland accordionist \u003ca href=\"http://www.robreich.com/\">Rob Reich\u003c/a> merely has to play a few notes to establish his singular identity. A versatile composer who has thrived in many situations, from writing action-packed circus music to setting e.e. cummings verse to music in the chamber ensemble Tin Hat, Reich delivers a dozen original compositions on his entrancing new album \"Shadowbox.\"\u003c/p>\n\u003cp>The opening track, “Night Heron,” embodies so much of what makes his music memorable and evocative. There’s the subway rumble of Ben Goldberg’s contra alto clarinet and Todd Sickafoose’s elastic bass lines. There’s Eric Garland’s subtle but assertive cymbal touch, and guitarist Ila Cantor’s ominous notes that hang in the air.\u003c/p>\n\u003cp>Reich plays piano on several tracks, too, but it’s the tunes that pair his accordion with Goldberg’s clarinet that I keep coming back to, like “How Now,” a piece that makes me think of Thelonious Monk walking through the countryside in Eastern Europe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8LX4uWyNWTo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using his own particular alchemy to combine various folk, jazz and classical elements, Reich creates soundscapes that linger like a half-remembered scent. It’s a realm where the accordion sheds many, but not all, of its Old World connotations, a Shadowbox brimming with half-buried feelings and memories just out of reach.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Square foot for square foot, no venue in San Francisco has made a bigger impact over the past 15 years than the \u003ca href=\"http://redpoppyarthouse.org/\">Red Poppy Art House\u003c/a>. A storefront Mission District performance space and studio run on a shoestring budget, the venue has nurtured a fascinating array of hybrid artists, such as the Carnatic jazz of VidyA and the Ethio-soul of Meklit. Two recent albums by artists associated with the Red Poppy make it clear that the club hasn’t lost its mojo.\u003c/p>\n\u003cp>For her first album, \u003ca href=\"http://www.tiffanyaustinmusic.com/\">Tiffany Austin \u003c/a>relies on a time-tested strategy that alto sax great Jackie McLean once described as “new wine in old bottles.” A graduate of the UC Berkeley School of Law, she’s spent the past few years paying dues on the Bay Area jazz scene, singing with established bandleaders like bassist \u003ca href=\"http://www.marcusshelby.com/\">Marcus Shelby\u003c/a>, trombonist \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\">Adam Theis\u003c/a> and saxophonist Howard Wiley.\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/212163759&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/212163759'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Her new album, \"Nothing But Soul,\" came out of a 2013 SFJAZZ Hotplate concert exploring the songs of Hoagy Carmichael. She and Wiley came up with unfussy arrangements that refashioned some of Carmichael’s best-loved songs to fit the luxuriant contours of her voice.\u003c/p>\n\u003cp>She kicks off the album with a casually swinging version of “Stardust,” set to a lilting two-beat feel that doesn’t dilute the enduring power of Carmichael’s soaring melody. Her fleet and almost frantic take on “Baltimore Oriole” captures the bleak vision of abandonment behind the cutesy avian lyrics. The album’s most unexpected track is her barrelhouse sprint through Johnny Cash’s “I Walk the Line,” a tune that Carmichael evidentially covered in 1956.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/cyGFpiZW5Do'\n title='//www.youtube.com/embed/cyGFpiZW5Do'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reimagining standards is just one facet of Austin’s creativity. She spent a year as artist in residence at the Red Poppy Art House, putting her own spin on songs gleaned from early Creole recordings from Louisiana. Accompanied by some of the best jazz musicians in the Bay Area -- pianist Glen Pearson, bassist Ron Belcher and drummer Sly Randolph -- Austin delivers an impressive debut that only hints at her potential.\u003c/p>\n\u003cfigure id=\"attachment_10578476\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10578476\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RobReich-800x554.jpg\" alt=\"Oakland accordionist Rob Reich.\" width=\"800\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-800x554.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-400x277.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1440x997.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1180x817.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-960x665.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland accordionist Rob Reich \u003ccite>(Courtesy Rob Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Austin employs a canny strategy in approaching familiar material, Oakland accordionist \u003ca href=\"http://www.robreich.com/\">Rob Reich\u003c/a> merely has to play a few notes to establish his singular identity. A versatile composer who has thrived in many situations, from writing action-packed circus music to setting e.e. cummings verse to music in the chamber ensemble Tin Hat, Reich delivers a dozen original compositions on his entrancing new album \"Shadowbox.\"\u003c/p>\n\u003cp>The opening track, “Night Heron,” embodies so much of what makes his music memorable and evocative. There’s the subway rumble of Ben Goldberg’s contra alto clarinet and Todd Sickafoose’s elastic bass lines. There’s Eric Garland’s subtle but assertive cymbal touch, and guitarist Ila Cantor’s ominous notes that hang in the air.\u003c/p>\n\u003cp>Reich plays piano on several tracks, too, but it’s the tunes that pair his accordion with Goldberg’s clarinet that I keep coming back to, like “How Now,” a piece that makes me think of Thelonious Monk walking through the countryside in Eastern Europe.\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/8LX4uWyNWTo'\n title='//www.youtube.com/embed/8LX4uWyNWTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Using his own particular alchemy to combine various folk, jazz and classical elements, Reich creates soundscapes that linger like a half-remembered scent. It’s a realm where the accordion sheds many, but not all, of its Old World connotations, a Shadowbox brimming with half-buried feelings and memories just out of reach.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anaïs Mitchell: Bringing the Underworld to Berkeley",
"headTitle": "Anaïs Mitchell: Bringing the Underworld to Berkeley | 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/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Hadestown’\u003c/h2>\n\u003cdiv class=\"event-desc\">Anaïs Mitchell’s mythology-inspired folk opera.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When singer/songwriter Anaïs Mitchell released her folk opera \u003cem>Hadestown\u003c/em> in 2009, the vivid reimagining of the Greek myth of the doomed lovers Orpheus and Eurydice clearly seemed inspired by the nation’s economic crisis.\u003c/p>\n\u003cp>Set in a Depression-era company town painted in the stark colors of a hard-boiled Dashiel Hammett dystopia, the album brought together an immoderately talented multi-generational cast of singers and instrumentalists, including Greg Brown (Hades), Ani DiFranco (Persephone), Bon Iver’s Justin Vernon (Orpheus), and Petra, Rachel and Tanya Haden (the Fates). But Mitchell, who sang the role of Eurydice, says that the project was born long before the bursting housing bubble almost toppled the global financial system.\u003c/p>\n\u003cp>In fact, it was George W. Bush’s reelection in 2004 and Mitchell’s wavering faith in the power of writing politically topical songs that set her on a path toward Greek mythology. The underworld, it turned out, was an ideal forum for unleashing her vision of a curdling American dream.\u003c/p>\n\u003cp>“Hades was a way to write about those things in an archetypical way, rather than tied to specific events,” says Mitchell, 34. “When the album was coming out and the recession hit, themes of poverty and desperation really came to the fore. Now we’re on the road to recovery and other parts of the music and imagery feel a little more relevant. It’s an ancient myth that continues to resonate in so many ways.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk&w=640&h=360]\u003c/p>\n\u003cp>Mitchell presents a newly expanded version of the song cycle at Berkeley’s Freight & Salvage on June 28, working with album’s two key collaborators: arranger Michael Chorney, who plays acoustic guitar and prepared guitar, and bassist Todd Sickafoose, who produced the album and her acclaimed 2012 followup \u003cem>Young Man In America\u003c/em> (Wilderland Records). They’re joined by a stellar ensemble including violinist/vocalist Jenny Scheinman, cellist/vocalist Markia Hughes, trumpeter/vocalist Darren Johnston, accordionist Rob Reich, and drummer Eric Garland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several years before recording the album, Mitchell presented \u003cem>Hadestown\u003c/em> in Vermont as a traveling theatrical production with a \u003ca href=\"http://breadandpuppet.org/\" target=\"_blank\" rel=\"noopener\">Bread & Puppet Theater\u003c/a> aesthetic, with Chorney on hand. With virtually no funding or institutional support, they toured around New England twice over the course of two years.\u003c/p>\n\u003cp>“The album was a third draft of a thing that began in a DIY theatrical way, with myself and Michael and a band playing his arrangements,” Mitchell says. “We’d go to a particular town or state and recruit friends and strangers from the music community to sing the roles. We thought of it as a radio novella. I always wanted to see it go back to the theater, because of what can happen working with real actors.”\u003c/p>\n\u003cfigure id=\"attachment_10796912\" class=\"wp-caption alignright\" style=\"max-width: 295px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AnaisMitchellPolaroid2.jpg\" alt=\"Anaïs Mitchell \" width=\"295\" height=\"360\" class=\"size-full wp-image-10796912\">\u003cfigcaption class=\"wp-caption-text\">Anaïs Mitchell.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s remarkable about the album is the way it evokes the piece’s theatricality, the sense of drama being played out in a physical space, rather than unfolding simply as a collection of songs connected by a narrative. Before he produced the album, Sickafoose joined Mitchell’s cast on the road, “and it was really instructive to be part of the theatricality of it from the beginning,” says Sickafoose (who performs with his own band Tiny Resistors on June 26 at the Red Poppy Art House).\u003c/p>\n\u003cp>“We tried to make the record have that feeling, having different people singing all the roles, and making sure there was space in the music so it didn’t just go one line to the next, one song to the next, setting scenes and including the kind of transitions you feel like you’re seeing. ‘Folk opera’ is a beautiful term. It feels like a good cloak to put on and say ‘this is what it is,’ and move around inside of that. It’s the first genre name I’ve ever liked.”\u003c/p>\n\u003cp>Mitchell got a chance to revisit the piece’s theatrical roots earlier this year via \u003ca href=\"http://newyorktheatreworkshop.org/\" target=\"_blank\" rel=\"noopener\">New York Theater Workshop\u003c/a>, the organization that first presented \u003cem>Rent\u003c/em> and \u003cem>Once\u003c/em>. Sunday’s matinee is another step in that process, as \u003ca href=\"http://www.berkeleyrep.org/groundfloor/\" target=\"_blank\" rel=\"noopener\">The Ground Floor\u003c/a>, Berkeley Rep’s center for the creation and development of new work, selected \u003cem>Hadestown\u003c/em> as one of 14 projects in its fourth Summer Residency Lab.\u003c/p>\n\u003cp>The Berkeley Rep has a long history of productions involving music, from Green Day’s \u003cem>American Idiot\u003c/em> to Stew and Heidi Rodewald’s \u003cem>Passing Strange\u003c/em>, and \u003cem>Hadestown \u003c/em>seemed ripe for a workshop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We like things that seep across boundaries,” says Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor. “Anaïs’s work is perfect that way. She’s taking music and testing the waters of theater. She’s a multi-threat composer, songwriter, and lyricist with an inherently theatrical quality.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Hadestown’\u003c/h2>\n\u003cdiv class=\"event-desc\">Anaïs Mitchell’s mythology-inspired folk opera.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When singer/songwriter Anaïs Mitchell released her folk opera \u003cem>Hadestown\u003c/em> in 2009, the vivid reimagining of the Greek myth of the doomed lovers Orpheus and Eurydice clearly seemed inspired by the nation’s economic crisis.\u003c/p>\n\u003cp>Set in a Depression-era company town painted in the stark colors of a hard-boiled Dashiel Hammett dystopia, the album brought together an immoderately talented multi-generational cast of singers and instrumentalists, including Greg Brown (Hades), Ani DiFranco (Persephone), Bon Iver’s Justin Vernon (Orpheus), and Petra, Rachel and Tanya Haden (the Fates). But Mitchell, who sang the role of Eurydice, says that the project was born long before the bursting housing bubble almost toppled the global financial system.\u003c/p>\n\u003cp>In fact, it was George W. Bush’s reelection in 2004 and Mitchell’s wavering faith in the power of writing politically topical songs that set her on a path toward Greek mythology. The underworld, it turned out, was an ideal forum for unleashing her vision of a curdling American dream.\u003c/p>\n\u003cp>“Hades was a way to write about those things in an archetypical way, rather than tied to specific events,” says Mitchell, 34. “When the album was coming out and the recession hit, themes of poverty and desperation really came to the fore. Now we’re on the road to recovery and other parts of the music and imagery feel a little more relevant. It’s an ancient myth that continues to resonate in so many ways.”\u003c/p>\n\u003cp>\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/fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk'\n title='//www.youtube.com/embed/fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Mitchell presents a newly expanded version of the song cycle at Berkeley’s Freight & Salvage on June 28, working with album’s two key collaborators: arranger Michael Chorney, who plays acoustic guitar and prepared guitar, and bassist Todd Sickafoose, who produced the album and her acclaimed 2012 followup \u003cem>Young Man In America\u003c/em> (Wilderland Records). They’re joined by a stellar ensemble including violinist/vocalist Jenny Scheinman, cellist/vocalist Markia Hughes, trumpeter/vocalist Darren Johnston, accordionist Rob Reich, and drummer Eric Garland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several years before recording the album, Mitchell presented \u003cem>Hadestown\u003c/em> in Vermont as a traveling theatrical production with a \u003ca href=\"http://breadandpuppet.org/\" target=\"_blank\" rel=\"noopener\">Bread & Puppet Theater\u003c/a> aesthetic, with Chorney on hand. With virtually no funding or institutional support, they toured around New England twice over the course of two years.\u003c/p>\n\u003cp>“The album was a third draft of a thing that began in a DIY theatrical way, with myself and Michael and a band playing his arrangements,” Mitchell says. “We’d go to a particular town or state and recruit friends and strangers from the music community to sing the roles. We thought of it as a radio novella. I always wanted to see it go back to the theater, because of what can happen working with real actors.”\u003c/p>\n\u003cfigure id=\"attachment_10796912\" class=\"wp-caption alignright\" style=\"max-width: 295px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AnaisMitchellPolaroid2.jpg\" alt=\"Anaïs Mitchell \" width=\"295\" height=\"360\" class=\"size-full wp-image-10796912\">\u003cfigcaption class=\"wp-caption-text\">Anaïs Mitchell.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s remarkable about the album is the way it evokes the piece’s theatricality, the sense of drama being played out in a physical space, rather than unfolding simply as a collection of songs connected by a narrative. Before he produced the album, Sickafoose joined Mitchell’s cast on the road, “and it was really instructive to be part of the theatricality of it from the beginning,” says Sickafoose (who performs with his own band Tiny Resistors on June 26 at the Red Poppy Art House).\u003c/p>\n\u003cp>“We tried to make the record have that feeling, having different people singing all the roles, and making sure there was space in the music so it didn’t just go one line to the next, one song to the next, setting scenes and including the kind of transitions you feel like you’re seeing. ‘Folk opera’ is a beautiful term. It feels like a good cloak to put on and say ‘this is what it is,’ and move around inside of that. It’s the first genre name I’ve ever liked.”\u003c/p>\n\u003cp>Mitchell got a chance to revisit the piece’s theatrical roots earlier this year via \u003ca href=\"http://newyorktheatreworkshop.org/\" target=\"_blank\" rel=\"noopener\">New York Theater Workshop\u003c/a>, the organization that first presented \u003cem>Rent\u003c/em> and \u003cem>Once\u003c/em>. Sunday’s matinee is another step in that process, as \u003ca href=\"http://www.berkeleyrep.org/groundfloor/\" target=\"_blank\" rel=\"noopener\">The Ground Floor\u003c/a>, Berkeley Rep’s center for the creation and development of new work, selected \u003cem>Hadestown\u003c/em> as one of 14 projects in its fourth Summer Residency Lab.\u003c/p>\n\u003cp>The Berkeley Rep has a long history of productions involving music, from Green Day’s \u003cem>American Idiot\u003c/em> to Stew and Heidi Rodewald’s \u003cem>Passing Strange\u003c/em>, and \u003cem>Hadestown \u003c/em>seemed ripe for a workshop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We like things that seep across boundaries,” says Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor. “Anaïs’s work is perfect that way. She’s taking music and testing the waters of theater. She’s a multi-threat composer, songwriter, and lyricist with an inherently theatrical quality.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's Your Stoner's Guide to Great America",
"headTitle": "Here’s Your Stoner’s Guide to Great America | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>This article originally published in 2015\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>This weekend, the surviving members of the Grateful Dead celebrate the band’s 50th anniversary with a \u003ca href=\"http://www.levisstadium.com/events/event/grateful-dead/\" target=\"_blank\" rel=\"noopener noreferrer\">pair of shows\u003c/a> at Levi’s Stadium in Santa Clara. And though the concert itself should provide more than a few trips down amnesia lane, everyone knows where the real action is at a Dead show: out in the parking lot. \u003c/p>\n\u003cp>Funny thing about Levi’s Stadium—it shares a parking lot with \u003ca href=\"https://www.cagreatamerica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a>, the amusement park currently celebrating its own milestone anniversary of 40 years. And it just so happens that it will be open all day during the Grateful Dead shows and “fully staffed,” according to a park employee.\u003c/p>\n\u003cp>“We’re expecting a huge crowd,” attested the employee, who asked not to be named. “It’s going to be crazy.”\u003c/p>\n\u003cp>The Dead’s fan base is an adventurous bunch. Deadheads also, generally and historically, like to maintain \u003cem>a certain state of mind\u003c/em>. And though there are plenty of leisurely rides at Great America to enhance the stoned experience, there are also a few guaranteed vibe-killers in the park from which to steer clear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I recently spent a day at Great America with Cassie, a 28-year-old who showed up for the occasion in a vintage \u003ca href=\"https://s-media-cache-ak0.pinimg.com/236x/1e/91/c4/1e91c4199e10c48c89ee81e84f3a0c43.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Mouse/Kelley Grateful Dead T-shirt\u003c/a>. On the way there, we listened to the Dead’s set from \u003ca href=\"https://archive.org/details/gd73-06-10.sbd.hollister.174.sbeok.shnf\" target=\"_blank\" rel=\"noopener noreferrer\">6/10/1973 at RFK Stadium\u003c/a>, and talked about her seasonal trimming job in Humboldt County while looking up the smoking sections scattered around the park. In other words: she proved a perfect test subject for the typical stoner experience at Great America.\u003c/p>\n\u003cp>So here, Deadheads, without further ado, is your guide to 10 rides at Great America, each of them tested by a very stoned fan and rated on a scale of one to five Dancing Bears.\u003c/p>\n\u003cfigure id=\"attachment_10794270\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADeltaFlyer.jpg\" alt=\"Delta Flyer.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delta Flyer.\u003c/figcaption>\u003c/figure>\n\u003ch3>Delta Flyer\u003c/h3>\n\u003cp>There’s no better way to see Great America than high in the air, and for those who didn’t grow up in the Bay Area going to the park every summer, the Delta Flyer is a smooth tram ride that offers a good introduction to the lay of the land. Hum a little bit of “Catfish John” (“Walking in his footsteps in the Sweet Delta Dawn”) and map out your day. Said Cassie, de-boarding the gondola: “It was fun to start the day off like that.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794271\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAPsychoMouse.jpg\" alt=\"Psycho Mouse.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Psycho Mouse.\u003c/figcaption>\u003c/figure>\n\u003ch3>Psycho Mouse\u003c/h3>\n\u003cp>“This is a very aesthetically pleasing ride,” said Cassie, waiting in line and staring into the roller coaster’s mouse-themed design. But the ride, similar to Goofy’s Sky School at Disney’s California Adventure, was decidedly un-mellow. “It was kind of aggressive, and jarring,” said Cassie, after being jolted back and forth on the Psycho Mouse’s sharp turns, high above the Earth. “But come on, look at that mouse! He’s so cute!”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794272\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGrizzly.jpg\" alt=\"The Grizzly.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Grizzly.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grizzly\u003c/h3>\n\u003cp>Built in 1986, the Grizzly was Great America’s first all-wooden roller coaster, giving it an organic feel and a beach-boardwalk look. For those who like to zone out on how things are made, the ride’s complex construction opens up the imagination to questions of design and engineering, and indeed, Cassie lingered an extra minute examining the interlocking wooden pilings before climbing aboard. This one was a winner: “It wasn’t scary at all,” Cassie said. “It was just fun, and not horrifying, and I like the sound it makes.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794273\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GABarneyOldfield.jpg\" alt=\"Barney Oldfield Speedway.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barney Oldfield Speedway.\u003c/figcaption>\u003c/figure>\n\u003ch3>Barney Oldfield Speedway\u003c/h3>\n\u003cp>Your basic, anyone-can-drive-a-car attraction, complete with superfluous steering wheel and lazy pace. In addition to its close-up views of the Grizzly, this ride also happened to provide the best employee-watching of the day. “\u003ca href=\"https://www.youtube.com/watch?v=_nOpJMQ3-VE\" target=\"_blank\" rel=\"noopener noreferrer\">New Speedway Boogie\u003c/a>” would’ve made a good soundtrack to this ride, except as Cassie noted, “I don’t think ‘speed’ is really an issue.” The cars drive slowly, and the boarding area is filled with constant, noxious exhaust — not the type of fumes a Deadhead wants to inhale.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794274\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADemon.jpg\" alt=\"The Demon.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Demon.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Demon\u003c/h3>\n\u003cp>The grand old dame of Great America’s roller coasters, the Demon is now 35 years old, its double-loop and double-corkscrew the same as when it opened in 1980. I’d guessed it would be too harsh for Cassie, but afterward, her flushed face told a different story. “That was incredible! It almost makes me want to lower the scores of all the other rides, it was so great!” she said. The ride is angular and unpredictable, the thrill-ride equivalent of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-shape-of-jazz-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">Ornette Coleman playing with the dead at the Oakland Coliseum\u003c/a>, but ultimately satisfying. “This one had the fear,” Cassie said, “but I \u003cem>liked\u003c/em> it.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794275\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GARapids.jpg\" alt=\"The Rapids.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Rapids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Logger’s Run\u003c/h3>\n\u003cp>You’ll want to cool down with some \u003ca href=\"https://www.youtube.com/watch?v=671AgW9xSiA\" target=\"_blank\" rel=\"noopener noreferrer\">ripples in still water\u003c/a>, and Great America has an entire waterpark called Boomerang Bay, if you bring your swimsuit. We didn’t, so we confined ourselves to the water rides. Whitewater Falls was exhilarating, but short; the Rapids (pictured) were only slightly rapid, and too tame. Also, both aforementioned rides allow random spectators to shoot water at you from a cannon, which is a serious bummer. The winner of the three was Logger’s Run, which lifts high above the park and rushes down in a thrilling descent. And you can’t argue with Cassie’s logic: “I like that you’re inside of a log.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794276\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGoldStriker.jpg\" alt=\"Gold Striker.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gold Striker.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gold Striker\u003c/h3>\n\u003cp>This gigantic wooden roller coaster is like \u003ca href=\"http://www.discogs.com/Grateful-Dead-Dark-Star/release/3549571\" target=\"_blank\" rel=\"noopener noreferrer\">“Dark Star” from \u003cem>Europe ’72\u003c/em>\u003c/a> played at 78 rpm: it’s long, it’s fast, and the twists and turns are wild and unpredictable. Gold Striker was also Cassie’s favorite ride of the day, owing to its height (108 ft.), speed (54 mph), and nonstop thrill factor. “It just doesn’t let up!” she said afterward, smiling and out of breath. We rode it twice and it was insane both times, from the initial drop through the tunnel to the \u003ca href=\"http://www.azlyrics.com/lyrics/gratefuldead/andwebidyougoodnight.html\" target=\"_blank\" rel=\"noopener noreferrer\">beast at the ending of the wood\u003c/a>. One word of advice from Cassie, though: “It definitely takes your stomach to the breaking point,” she says. “Don’t go on it after eating curly fries.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAHMBEndeavor.jpg\" alt=\"H.M.B. Endeavor.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">H.M.B. Endeavor.\u003c/figcaption>\u003c/figure>\n\u003ch3>H.M.B. Endeavor\u003c/h3>\n\u003cp>So, this was a bad idea. The H.M.B. Endeavor is a classic county-fair pirate ship ride, except that instead of simply swinging back and forth, it actually goes all the way upside down. And. Just. Stays. There. After hanging upside down for five or six seconds, there’s a huge rush of blood to your head, and not the good kind. Nauseous afterward, Cassie reported: “I felt freaked out on it, to be honest. I was \u003cem>very\u003c/em> aware of this tiny shoulder harness being the only thing keeping me from imminent death.” Stay away, Deadheads.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794285\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAVortex.jpg\" alt=\"The Vortex.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Vortex.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Vortex\u003c/h3>\n\u003cp>An upside-down ride whose schtick is that riders stand up instead of sit down, the Vortex is little more than a gimmick. It felt punishing. “I have a serious case of sea legs,” said Cassie afterward, “and a headache.” However, the ride’s rating was bumped higher by the fact that Cassie saw a Nirvana video playing on the “Fun TV” screen in line. Go figure.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794286\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAColumbia.jpg\" alt=\"Carousel Columbia.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carousel Columbia.\u003c/figcaption>\u003c/figure>\n\u003ch3>Carousel Columbia\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After a long day, there’s no better way to bid goodnight to the park than a ride on this, the tallest carousel in the western United States. We climbed aboard the upper deck, hopped on some horses, and \u003ca href=\"https://www.youtube.com/watch?v=1PU-Fuu6T4A\" target=\"_blank\" rel=\"noopener noreferrer\">turned on our love light\u003c/a> for a nostalgic spin to childlike innocence. With the twirling nature of the ride and the noodling organ music, there’s probably no finer way to chill out before a Grateful Dead show.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\n",
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"excerpt": "As the Grateful Dead gears up for two shows across from from Great America this weekend, here's your stoner's guide to the amusement park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This article originally published in 2015\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>This weekend, the surviving members of the Grateful Dead celebrate the band’s 50th anniversary with a \u003ca href=\"http://www.levisstadium.com/events/event/grateful-dead/\" target=\"_blank\" rel=\"noopener noreferrer\">pair of shows\u003c/a> at Levi’s Stadium in Santa Clara. And though the concert itself should provide more than a few trips down amnesia lane, everyone knows where the real action is at a Dead show: out in the parking lot. \u003c/p>\n\u003cp>Funny thing about Levi’s Stadium—it shares a parking lot with \u003ca href=\"https://www.cagreatamerica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a>, the amusement park currently celebrating its own milestone anniversary of 40 years. And it just so happens that it will be open all day during the Grateful Dead shows and “fully staffed,” according to a park employee.\u003c/p>\n\u003cp>“We’re expecting a huge crowd,” attested the employee, who asked not to be named. “It’s going to be crazy.”\u003c/p>\n\u003cp>The Dead’s fan base is an adventurous bunch. Deadheads also, generally and historically, like to maintain \u003cem>a certain state of mind\u003c/em>. And though there are plenty of leisurely rides at Great America to enhance the stoned experience, there are also a few guaranteed vibe-killers in the park from which to steer clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I recently spent a day at Great America with Cassie, a 28-year-old who showed up for the occasion in a vintage \u003ca href=\"https://s-media-cache-ak0.pinimg.com/236x/1e/91/c4/1e91c4199e10c48c89ee81e84f3a0c43.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Mouse/Kelley Grateful Dead T-shirt\u003c/a>. On the way there, we listened to the Dead’s set from \u003ca href=\"https://archive.org/details/gd73-06-10.sbd.hollister.174.sbeok.shnf\" target=\"_blank\" rel=\"noopener noreferrer\">6/10/1973 at RFK Stadium\u003c/a>, and talked about her seasonal trimming job in Humboldt County while looking up the smoking sections scattered around the park. In other words: she proved a perfect test subject for the typical stoner experience at Great America.\u003c/p>\n\u003cp>So here, Deadheads, without further ado, is your guide to 10 rides at Great America, each of them tested by a very stoned fan and rated on a scale of one to five Dancing Bears.\u003c/p>\n\u003cfigure id=\"attachment_10794270\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADeltaFlyer.jpg\" alt=\"Delta Flyer.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delta Flyer.\u003c/figcaption>\u003c/figure>\n\u003ch3>Delta Flyer\u003c/h3>\n\u003cp>There’s no better way to see Great America than high in the air, and for those who didn’t grow up in the Bay Area going to the park every summer, the Delta Flyer is a smooth tram ride that offers a good introduction to the lay of the land. Hum a little bit of “Catfish John” (“Walking in his footsteps in the Sweet Delta Dawn”) and map out your day. Said Cassie, de-boarding the gondola: “It was fun to start the day off like that.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794271\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAPsychoMouse.jpg\" alt=\"Psycho Mouse.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Psycho Mouse.\u003c/figcaption>\u003c/figure>\n\u003ch3>Psycho Mouse\u003c/h3>\n\u003cp>“This is a very aesthetically pleasing ride,” said Cassie, waiting in line and staring into the roller coaster’s mouse-themed design. But the ride, similar to Goofy’s Sky School at Disney’s California Adventure, was decidedly un-mellow. “It was kind of aggressive, and jarring,” said Cassie, after being jolted back and forth on the Psycho Mouse’s sharp turns, high above the Earth. “But come on, look at that mouse! He’s so cute!”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794272\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGrizzly.jpg\" alt=\"The Grizzly.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Grizzly.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grizzly\u003c/h3>\n\u003cp>Built in 1986, the Grizzly was Great America’s first all-wooden roller coaster, giving it an organic feel and a beach-boardwalk look. For those who like to zone out on how things are made, the ride’s complex construction opens up the imagination to questions of design and engineering, and indeed, Cassie lingered an extra minute examining the interlocking wooden pilings before climbing aboard. This one was a winner: “It wasn’t scary at all,” Cassie said. “It was just fun, and not horrifying, and I like the sound it makes.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794273\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GABarneyOldfield.jpg\" alt=\"Barney Oldfield Speedway.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barney Oldfield Speedway.\u003c/figcaption>\u003c/figure>\n\u003ch3>Barney Oldfield Speedway\u003c/h3>\n\u003cp>Your basic, anyone-can-drive-a-car attraction, complete with superfluous steering wheel and lazy pace. In addition to its close-up views of the Grizzly, this ride also happened to provide the best employee-watching of the day. “\u003ca href=\"https://www.youtube.com/watch?v=_nOpJMQ3-VE\" target=\"_blank\" rel=\"noopener noreferrer\">New Speedway Boogie\u003c/a>” would’ve made a good soundtrack to this ride, except as Cassie noted, “I don’t think ‘speed’ is really an issue.” The cars drive slowly, and the boarding area is filled with constant, noxious exhaust — not the type of fumes a Deadhead wants to inhale.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794274\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADemon.jpg\" alt=\"The Demon.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Demon.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Demon\u003c/h3>\n\u003cp>The grand old dame of Great America’s roller coasters, the Demon is now 35 years old, its double-loop and double-corkscrew the same as when it opened in 1980. I’d guessed it would be too harsh for Cassie, but afterward, her flushed face told a different story. “That was incredible! It almost makes me want to lower the scores of all the other rides, it was so great!” she said. The ride is angular and unpredictable, the thrill-ride equivalent of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-shape-of-jazz-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">Ornette Coleman playing with the dead at the Oakland Coliseum\u003c/a>, but ultimately satisfying. “This one had the fear,” Cassie said, “but I \u003cem>liked\u003c/em> it.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794275\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GARapids.jpg\" alt=\"The Rapids.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Rapids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Logger’s Run\u003c/h3>\n\u003cp>You’ll want to cool down with some \u003ca href=\"https://www.youtube.com/watch?v=671AgW9xSiA\" target=\"_blank\" rel=\"noopener noreferrer\">ripples in still water\u003c/a>, and Great America has an entire waterpark called Boomerang Bay, if you bring your swimsuit. We didn’t, so we confined ourselves to the water rides. Whitewater Falls was exhilarating, but short; the Rapids (pictured) were only slightly rapid, and too tame. Also, both aforementioned rides allow random spectators to shoot water at you from a cannon, which is a serious bummer. The winner of the three was Logger’s Run, which lifts high above the park and rushes down in a thrilling descent. And you can’t argue with Cassie’s logic: “I like that you’re inside of a log.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794276\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGoldStriker.jpg\" alt=\"Gold Striker.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gold Striker.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gold Striker\u003c/h3>\n\u003cp>This gigantic wooden roller coaster is like \u003ca href=\"http://www.discogs.com/Grateful-Dead-Dark-Star/release/3549571\" target=\"_blank\" rel=\"noopener noreferrer\">“Dark Star” from \u003cem>Europe ’72\u003c/em>\u003c/a> played at 78 rpm: it’s long, it’s fast, and the twists and turns are wild and unpredictable. Gold Striker was also Cassie’s favorite ride of the day, owing to its height (108 ft.), speed (54 mph), and nonstop thrill factor. “It just doesn’t let up!” she said afterward, smiling and out of breath. We rode it twice and it was insane both times, from the initial drop through the tunnel to the \u003ca href=\"http://www.azlyrics.com/lyrics/gratefuldead/andwebidyougoodnight.html\" target=\"_blank\" rel=\"noopener noreferrer\">beast at the ending of the wood\u003c/a>. One word of advice from Cassie, though: “It definitely takes your stomach to the breaking point,” she says. “Don’t go on it after eating curly fries.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAHMBEndeavor.jpg\" alt=\"H.M.B. Endeavor.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">H.M.B. Endeavor.\u003c/figcaption>\u003c/figure>\n\u003ch3>H.M.B. Endeavor\u003c/h3>\n\u003cp>So, this was a bad idea. The H.M.B. Endeavor is a classic county-fair pirate ship ride, except that instead of simply swinging back and forth, it actually goes all the way upside down. And. Just. Stays. There. After hanging upside down for five or six seconds, there’s a huge rush of blood to your head, and not the good kind. Nauseous afterward, Cassie reported: “I felt freaked out on it, to be honest. I was \u003cem>very\u003c/em> aware of this tiny shoulder harness being the only thing keeping me from imminent death.” Stay away, Deadheads.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794285\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAVortex.jpg\" alt=\"The Vortex.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Vortex.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Vortex\u003c/h3>\n\u003cp>An upside-down ride whose schtick is that riders stand up instead of sit down, the Vortex is little more than a gimmick. It felt punishing. “I have a serious case of sea legs,” said Cassie afterward, “and a headache.” However, the ride’s rating was bumped higher by the fact that Cassie saw a Nirvana video playing on the “Fun TV” screen in line. Go figure.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794286\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAColumbia.jpg\" alt=\"Carousel Columbia.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carousel Columbia.\u003c/figcaption>\u003c/figure>\n\u003ch3>Carousel Columbia\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a long day, there’s no better way to bid goodnight to the park than a ride on this, the tallest carousel in the western United States. We climbed aboard the upper deck, hopped on some horses, and \u003ca href=\"https://www.youtube.com/watch?v=1PU-Fuu6T4A\" target=\"_blank\" rel=\"noopener noreferrer\">turned on our love light\u003c/a> for a nostalgic spin to childlike innocence. With the twirling nature of the ride and the noodling organ music, there’s probably no finer way to chill out before a Grateful Dead show.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: San Francisco Songs for Summer",
"headTitle": "Mixtape: San Francisco Songs for Summer | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Summer Songs.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Even though San Francisco’s summers get an unfairly bad rap, that doesn’t prevent us locals from enjoying many of the best parts of the season. Days at the beach, barbecues, road trips, street fairs and festivals: sure, you might need to \u003ca href=\"https://www.youtube.com/watch?v=r5LxqjuHktU\">carry a light sweater\u003c/a> on some of your summer excursions, but the long days can’t be beat for outdoor fun.\u003c/p>\n\u003cp>With solstice on the mind, we’ve compiled this mixtape of songs for the season, collecting new and recent releases by San Francisco Bay Area bands that feel like perfect additions to any summer playlist. As one might expect, you’ll hear some beach-ready garage rock and surf-inspired sounds, like those of \u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong>, mixing jangly reverb and big, hooky melodies.\u003c/p>\n\u003cp>That knack for pop carries through a number of the songs here, including a new electronic track from SF/NY band \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong>’ forthcoming album \u003cem>Horizons\u003c/em>, and one from buzzed-about band \u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong>. Two of our favorite local songwriters also make an appearance here. \u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> has a growing cult, likely to expand further with the release of \u003cem>Perpetual Motion People\u003c/em> in July; meanwhile, \u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> recently surprised the world with a new record, \u003cem>Chrissybaby Forever\u003c/em>.\u003c/p>\n\u003cp>At the same time, several offerings are slightly moodier — think, perhaps, music for summer nights. \u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> is another great band from the Death Records universe, and “dream wave” band the \u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">Silhouette Era\u003c/a>\u003c/strong> has the equally reliable Breakup Records seal of approval. Anthony Ferraro has been recording for some time as \u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong>, and his long-overdue debut LP arrives in September.\u003c/p>\n\u003cp>Finally, it wouldn’t be a Bay Area summer mix without including some psychy sounds, with highlights coming from \u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong>. Adams describes his band’s sound as “heavy surf rock,” and the group just unveiled the wild new \u003cem>Black Flamingo\u003c/em> EP. Fine Points is a name you might not be familiar with yet, but the band is led by members of Sleepy Sun, and its debut offering sounds very exciting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the mix, and have great start to your summer!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> – “Photography is Over”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> – “Restless Year”\u003cbr>\n\u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong> – “Singapore Sling”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> – “Wardrobe”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong> – “Eye to Eye”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong> – “Old Conversation”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong> – “Astral Season”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> – “Selfish Feelings”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">The Silhouette Era\u003c/a>\u003c/strong> – “Devotion”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong> – “Disintegrate”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong> – “Bobby Black”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong> – “Black Flamingo”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong> – “Wild”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Summer Songs.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Even though San Francisco’s summers get an unfairly bad rap, that doesn’t prevent us locals from enjoying many of the best parts of the season. Days at the beach, barbecues, road trips, street fairs and festivals: sure, you might need to \u003ca href=\"https://www.youtube.com/watch?v=r5LxqjuHktU\">carry a light sweater\u003c/a> on some of your summer excursions, but the long days can’t be beat for outdoor fun.\u003c/p>\n\u003cp>With solstice on the mind, we’ve compiled this mixtape of songs for the season, collecting new and recent releases by San Francisco Bay Area bands that feel like perfect additions to any summer playlist. As one might expect, you’ll hear some beach-ready garage rock and surf-inspired sounds, like those of \u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong>, mixing jangly reverb and big, hooky melodies.\u003c/p>\n\u003cp>That knack for pop carries through a number of the songs here, including a new electronic track from SF/NY band \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong>’ forthcoming album \u003cem>Horizons\u003c/em>, and one from buzzed-about band \u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong>. Two of our favorite local songwriters also make an appearance here. \u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> has a growing cult, likely to expand further with the release of \u003cem>Perpetual Motion People\u003c/em> in July; meanwhile, \u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> recently surprised the world with a new record, \u003cem>Chrissybaby Forever\u003c/em>.\u003c/p>\n\u003cp>At the same time, several offerings are slightly moodier — think, perhaps, music for summer nights. \u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> is another great band from the Death Records universe, and “dream wave” band the \u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">Silhouette Era\u003c/a>\u003c/strong> has the equally reliable Breakup Records seal of approval. Anthony Ferraro has been recording for some time as \u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong>, and his long-overdue debut LP arrives in September.\u003c/p>\n\u003cp>Finally, it wouldn’t be a Bay Area summer mix without including some psychy sounds, with highlights coming from \u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong>. Adams describes his band’s sound as “heavy surf rock,” and the group just unveiled the wild new \u003cem>Black Flamingo\u003c/em> EP. Fine Points is a name you might not be familiar with yet, but the band is led by members of Sleepy Sun, and its debut offering sounds very exciting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the mix, and have great start to your summer!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> – “Photography is Over”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> – “Restless Year”\u003cbr>\n\u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong> – “Singapore Sling”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> – “Wardrobe”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong> – “Eye to Eye”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong> – “Old Conversation”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong> – “Astral Season”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> – “Selfish Feelings”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">The Silhouette Era\u003c/a>\u003c/strong> – “Devotion”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong> – “Disintegrate”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong> – “Bobby Black”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong> – “Black Flamingo”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong> – “Wild”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This is the fifth entry in a series of essays from actor and co-creator of the Superego podcast, Jeremy Carter. He has been performing improv comedy for over 20 years and the Superego podcast, which was started in 2006 and was described by Splitsider as being “really like nothing else out there”.\u003c/em>\u003c/p>\n\u003cp>Like most improvisers, I develop and play lots of different characters. Some of those characters sink in a little and some soak straight through to the bone. \u003c/p>\n\u003cp>Usually, you get possessed by those “deep soak” characters because you know them like the back of your hand. You’ll start doing them while you’re shopping, while in traffic, or after sex, which isn’t always received well. Some characters leap out of you, and you don’t know where it came from. Some are easy to slip on, like old work boots. \u003c/p>\n\u003cp>For example, It’s easy for me to play my mother. I’ve seen her at her best. I’ve seen her at her worst… Usually as a result of something I’ve done. The way she says,”Oh, uh-huh” when she isn’t really listening. Or when she stops talking, mid-thought, because she’s had another thought, and you just stand there, waiting for her to finish, but you may as well be waiting for cement to smile. \u003c/p>\n\u003cp>A few years ago I developed a character named Shunt McGuppin, an outlaw country music star whose heyday was in the 1970s. Often, Shunt will burst into songs that are out right offensive while his sound engineer, Pete, just wants to record a family friendly album to release at Walmart for the holidays. I improvise little ditties often when I’m by myself, making up the hook to a song with the filthiest lyrics. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To put it bluntly, Shunt is a crazy character. He’s often stoic but due to years of drug and alcohol abuse, repeated marriages, and the ups and downs of fame, he has been driven half mad. He may have been insane to begin with, but his experiences haven’t helped. \u003c/p>\n\u003cp>Shunt is based upon a hybrid of Waylon Jennings and Hank Williams Jr. But on a personal experience level Shunt is like my uncles and the guys I worked with doing construction when I was in high school: rough, blunt, vulgar, occasionally poetic and loud. \u003c/p>\n\u003cp>Like Shunt, several members of my family have struggled with substance abuse. One uncle of mine was actually married seven times — twice to the same woman. \u003c/p>\n\u003cp>And it wasn’t just my uncles. My dad wouldn’t allow a couple of his sisters to have our phone number or address for much of my childhood because of the “unique” elements they would bring with them. I remember them having things like cocaine and somebody else’s prescription medication the few times we did visit. Then there was the one aunt that had a boyfriend who ended up stabbing her in the face repeatedly before pushing her out of a moving car. \u003c/p>\n\u003cp>It’s those kind of anecdotes that I tap into when I play Shunt or “write” songs for him (many of the songs I’ve recorded for Shunt’s sketches are made up on the spot.) But recently I took it upon myself to write and record “real” songs for him and I couldn’t be happier with the results. Writing those tracks really allowed me to dig even deeper into what I imagine Shunt’s life has been like. The cold loveless affairs, the deep misguided loves, the struggles of over the road truck driving. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The thing I love about this character, is that I feel it’s an endless well. On the surface the joke is that he sings dirty country/rock songs, but there’s more there. And though I personally wouldn’t ever write songs and record them — let alone release them — but there seems to be a comfort in pretending to be somebody else and doing it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the fifth entry in a series of essays from actor and co-creator of the Superego podcast, Jeremy Carter. He has been performing improv comedy for over 20 years and the Superego podcast, which was started in 2006 and was described by Splitsider as being “really like nothing else out there”.\u003c/em>\u003c/p>\n\u003cp>Like most improvisers, I develop and play lots of different characters. Some of those characters sink in a little and some soak straight through to the bone. \u003c/p>\n\u003cp>Usually, you get possessed by those “deep soak” characters because you know them like the back of your hand. You’ll start doing them while you’re shopping, while in traffic, or after sex, which isn’t always received well. Some characters leap out of you, and you don’t know where it came from. Some are easy to slip on, like old work boots. \u003c/p>\n\u003cp>For example, It’s easy for me to play my mother. I’ve seen her at her best. I’ve seen her at her worst… Usually as a result of something I’ve done. The way she says,”Oh, uh-huh” when she isn’t really listening. Or when she stops talking, mid-thought, because she’s had another thought, and you just stand there, waiting for her to finish, but you may as well be waiting for cement to smile. \u003c/p>\n\u003cp>A few years ago I developed a character named Shunt McGuppin, an outlaw country music star whose heyday was in the 1970s. Often, Shunt will burst into songs that are out right offensive while his sound engineer, Pete, just wants to record a family friendly album to release at Walmart for the holidays. I improvise little ditties often when I’m by myself, making up the hook to a song with the filthiest lyrics. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To put it bluntly, Shunt is a crazy character. He’s often stoic but due to years of drug and alcohol abuse, repeated marriages, and the ups and downs of fame, he has been driven half mad. He may have been insane to begin with, but his experiences haven’t helped. \u003c/p>\n\u003cp>Shunt is based upon a hybrid of Waylon Jennings and Hank Williams Jr. But on a personal experience level Shunt is like my uncles and the guys I worked with doing construction when I was in high school: rough, blunt, vulgar, occasionally poetic and loud. \u003c/p>\n\u003cp>Like Shunt, several members of my family have struggled with substance abuse. One uncle of mine was actually married seven times — twice to the same woman. \u003c/p>\n\u003cp>And it wasn’t just my uncles. My dad wouldn’t allow a couple of his sisters to have our phone number or address for much of my childhood because of the “unique” elements they would bring with them. I remember them having things like cocaine and somebody else’s prescription medication the few times we did visit. Then there was the one aunt that had a boyfriend who ended up stabbing her in the face repeatedly before pushing her out of a moving car. \u003c/p>\n\u003cp>It’s those kind of anecdotes that I tap into when I play Shunt or “write” songs for him (many of the songs I’ve recorded for Shunt’s sketches are made up on the spot.) But recently I took it upon myself to write and record “real” songs for him and I couldn’t be happier with the results. Writing those tracks really allowed me to dig even deeper into what I imagine Shunt’s life has been like. The cold loveless affairs, the deep misguided loves, the struggles of over the road truck driving. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The thing I love about this character, is that I feel it’s an endless well. On the surface the joke is that he sings dirty country/rock songs, but there’s more there. And though I personally wouldn’t ever write songs and record them — let alone release them — but there seems to be a comfort in pretending to be somebody else and doing it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H-XxMAoaiLM&list=PLDGuz5lFaZAAUWMT3zYMTcoMr6WQcFMMR&index=2\u003c/p>\n\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=it-1CE3aDjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0AkeAoHigis\u003c/p>\n\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n[vimeo 12886475 w=500 h=331]\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XflfiylNNXY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n",
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"description": "Oliver Wang's new book 'Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area' chronicles a community of hip-hop innovation that would go on to spawn these five essential tracks.",
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"headline": "Top 5 Tracks Born from the Bay Area's Filipino Mobile DJ Scene",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\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/H-XxMAoaiLM'\n title='//www.youtube.com/embed/H-XxMAoaiLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\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/it-1CE3aDjA'\n title='//www.youtube.com/embed/it-1CE3aDjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\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/0AkeAoHigis'\n title='//www.youtube.com/embed/0AkeAoHigis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\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/XflfiylNNXY'\n title='//www.youtube.com/embed/XflfiylNNXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fantasy Lineup: Six Great SF Bands Not Included in the City Hall Centennial",
"headTitle": "Fantasy Lineup: Six Great SF Bands Not Included in the City Hall Centennial | 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/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF City Hall Centennial Celebration\u003c/h2>\n\u003cdiv class=\"event-desc\">An epic revue of San Francisco bands to celebrate the city hall’s centennial year.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This Friday, to celebrate the \u003ca href=\"http://www.sfcityhall100.com/celebration.html\" target=\"_blank\" rel=\"noopener\">100th birthday of its city hall\u003c/a>, San Francisco will be treated to a concert that honors its expansive musical heritage. Curated by the city’s rock ‘n’ roll ambassador \u003ca href=\"http://www.chuckprophet.com/\" target=\"_blank\" rel=\"noopener\">Chuck Prophet\u003c/a>, the two-part set list features a wide variety of monster hits baked in the City by the Bay, all sung by local heroes like the Kingston Trio, Jello Biafra and Kelley Stoltz.\u003c/p>\n\u003cp>It doesn’t need to be said, but I’ll say it: Prophet did an amazing job lining up this show. From what I’ve seen, the set list \u003ca href=\"https://twitter.com/ChuckProphet/status/610941514810683392/photo/1\" target=\"_blank\" rel=\"noopener\">looks fantastic\u003c/a>. Seeing Roy Loney, founding member of the Flamin’ Groovies, kick off the second set with “Slow Death” will be a not-to-miss moment; likewise, the Dead Kennedys’ “California Uber Alles” accompanied by strings is an inspired, unexpected pairing.\u003c/p>\n\u003cp>But being a music nerd, I can’t help but make my own fantasy additions to the lineup, with emphasis on “fantasy” — it’s impossible for the majority of the acts on this list to reform. Still, to give these passed-over groups some props, and to expose myself to some serious taunting, here are my dream additions to the festivities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-ZTvqUvgYCI\u003c/p>\n\u003ch3>1. Jawbreaker – “Kiss the Bottle”\u003c/h3>\n\u003cp>For me, including Jawbreaker in a list of influential San Francisco bands is an absolute no-brainer. Sure, you could blame them for later musical atrocities like Fall Out Boy, but that doesn’t mean you should push aside this band’s greatness. Numerous young fans around the world learned to deal with their emotions thanks to Blake Schwarzenbach’s words and their emo-meets-pop punk riffs. Out of the extensive catalog, “Kiss the Bottle” is a given for a SF-centric event — it’s about the drunks and derelicts of the 1990s Mission District, and was first released on \u003cem>17 Reasons\u003c/em>, a box set of songs about the rapidly changing neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0CZuNvGZen8\u003c/p>\n\u003ch3>2. Frightwig – “A Man’s Got To Do What A Man’s Got To Do”\u003c/h3>\n\u003cp>Frightwig has the tough distinction of being so ahead of their time that they’re influence isn’t widely recognized. Let’s be clear: Before there was the Riot Grrrl movement, there was Frightwig. They were unabashed feminists who held their own when playing with the dude-dominant punk bands of the early ’80s like D.O.A., G.B.H. and the Dead Kennedys. Though “I Got Lost” is probably the bigger hit — you can hear its influence on bands like Babes In Toyland — the track that would need to be played in a celebration of San Francisco would have to be “A Man’s Got To Do What A Man’s Got To Do,” their no wave-tinged dance number that, when included in their sets, would find the band prompting male audience members to join them on stage to strip.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=530gC6BztnA\u003c/p>\n\u003ch3>3. Chrome – “TV As Eyes”\u003c/h3>\n\u003cp>The first wave of San Francisco’s punk scene was so varied that it’s impossible to pick one group that truly represented all the different sounds coming out of the city in the late ’70s. For example, you had the sloppy, raw rock ‘n roll of Crime; the experimental-yet-catchy electronic punk of Tuxedomoon; and the proto-hardcore of Negative Trend. But one band that stands on the shoulders of them all, and that’s Chrome, who had already released an LP before punk rock became a thing. When the core of the group became Damon Edge, a fantastic drummer, vocalist and experimental tape musician, and Helios Creed, a shredding guitarist that would take Stooges-style riffs and phaser pedals to new heights, music in general would never be the same. And though Chrome had SF-themed songs like “Meet Me In The Subway,” the moment they grabbed the music world by the face and smacked it until it paid attention was “TV As Eyes,” the perfect encapsulation of their oeuvre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LB5YkmjalDg\u003c/p>\n\u003ch3>4. Huey Lewis and the News – “Hip to be Square”\u003c/h3>\n\u003cp>Obviously in a list of experimental, underground San Francisco bands, Huey Lewis and the News are the odd man out. But they’re here for a good reason: their impact as a band and their pride in their hometown cannot be underestimated. They’ve been written off as a ’80s pop band, when in actuality they were quite ballsier than the much of the dreck being forced down our throats on mid-’80s pop radio. And they didn’t keep their love of the city a secret; they not only featured San Francisco in their video for “I Want A New Drug,” they had the 49ers (specifically Joe Montana, Ronnie Lott and Dwight Clark (The Catch!)) sing backup vocals on “Hip To Be Square,” their retort to critics of their clean image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LBQ2305fLeA\u003c/p>\n\u003ch3>5. Primus – “Jerry Was A Race Car Driver”\u003c/h3>\n\u003cp>Out of all the hard-rocking groups that came out of San Francisco in the ’90s, Primus is definitely the most representative of the city’s pervasive weirdness. They loved the Residents and had the technical ability to play with the best prog musicians, but they weren’t afraid to dumb it down and just rock. And even though they’re responsible for popularizing one of the most horrendous musical genres to be created, funk metal, a.k.a. “thrash funk,” it’s not like they did it on purpose. Really, they were just kicking out the jams they only way they knew how, and “Jerry Was A Race Car Driver” is a prime example of why they would become so influential.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fg57RFvOWWQ\u003c/p>\n\u003ch3>6. The Rip Offs – “She Said Yeah”\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Greg Lowery, bass player for the Rip Offs and mastermind behind the influential ’90s punk label Rip Off Records, will probably despise me for including him in this article. Sadly for him, this is one of the side effects of being in an band as awesome as the Rip Offs. In an era when pop-punk in all of its various forms ruled the indie record store, the Rip Offs were a breath of fresh-yet-spit-stained air. They had fun with their hometown — the back of their LP pictured the four members urinating on a SFPD van — but they also brought the tracks, with each cut being a two-minute burst of snotty punk energy. Out of all the songs on this list, “She Said Yeah” is the one I could have on repeat for hours, months — heck, maybe even like City Hall itself, for 100 years. It never gets old.\u003c/p>\n\n",
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"excerpt": "San Francisco City Hall's Centennial Celebration features dozens of amazing musical acts from the city's history; here are a few \"dream lineup\" additions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF City Hall Centennial Celebration\u003c/h2>\n\u003cdiv class=\"event-desc\">An epic revue of San Francisco bands to celebrate the city hall’s centennial year.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This Friday, to celebrate the \u003ca href=\"http://www.sfcityhall100.com/celebration.html\" target=\"_blank\" rel=\"noopener\">100th birthday of its city hall\u003c/a>, San Francisco will be treated to a concert that honors its expansive musical heritage. Curated by the city’s rock ‘n’ roll ambassador \u003ca href=\"http://www.chuckprophet.com/\" target=\"_blank\" rel=\"noopener\">Chuck Prophet\u003c/a>, the two-part set list features a wide variety of monster hits baked in the City by the Bay, all sung by local heroes like the Kingston Trio, Jello Biafra and Kelley Stoltz.\u003c/p>\n\u003cp>It doesn’t need to be said, but I’ll say it: Prophet did an amazing job lining up this show. From what I’ve seen, the set list \u003ca href=\"https://twitter.com/ChuckProphet/status/610941514810683392/photo/1\" target=\"_blank\" rel=\"noopener\">looks fantastic\u003c/a>. Seeing Roy Loney, founding member of the Flamin’ Groovies, kick off the second set with “Slow Death” will be a not-to-miss moment; likewise, the Dead Kennedys’ “California Uber Alles” accompanied by strings is an inspired, unexpected pairing.\u003c/p>\n\u003cp>But being a music nerd, I can’t help but make my own fantasy additions to the lineup, with emphasis on “fantasy” — it’s impossible for the majority of the acts on this list to reform. Still, to give these passed-over groups some props, and to expose myself to some serious taunting, here are my dream additions to the festivities.\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/-ZTvqUvgYCI'\n title='//www.youtube.com/embed/-ZTvqUvgYCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1. Jawbreaker – “Kiss the Bottle”\u003c/h3>\n\u003cp>For me, including Jawbreaker in a list of influential San Francisco bands is an absolute no-brainer. Sure, you could blame them for later musical atrocities like Fall Out Boy, but that doesn’t mean you should push aside this band’s greatness. Numerous young fans around the world learned to deal with their emotions thanks to Blake Schwarzenbach’s words and their emo-meets-pop punk riffs. Out of the extensive catalog, “Kiss the Bottle” is a given for a SF-centric event — it’s about the drunks and derelicts of the 1990s Mission District, and was first released on \u003cem>17 Reasons\u003c/em>, a box set of songs about the rapidly changing neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/0CZuNvGZen8'\n title='//www.youtube.com/embed/0CZuNvGZen8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2. Frightwig – “A Man’s Got To Do What A Man’s Got To Do”\u003c/h3>\n\u003cp>Frightwig has the tough distinction of being so ahead of their time that they’re influence isn’t widely recognized. Let’s be clear: Before there was the Riot Grrrl movement, there was Frightwig. They were unabashed feminists who held their own when playing with the dude-dominant punk bands of the early ’80s like D.O.A., G.B.H. and the Dead Kennedys. Though “I Got Lost” is probably the bigger hit — you can hear its influence on bands like Babes In Toyland — the track that would need to be played in a celebration of San Francisco would have to be “A Man’s Got To Do What A Man’s Got To Do,” their no wave-tinged dance number that, when included in their sets, would find the band prompting male audience members to join them on stage to strip.\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/530gC6BztnA'\n title='//www.youtube.com/embed/530gC6BztnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>3. Chrome – “TV As Eyes”\u003c/h3>\n\u003cp>The first wave of San Francisco’s punk scene was so varied that it’s impossible to pick one group that truly represented all the different sounds coming out of the city in the late ’70s. For example, you had the sloppy, raw rock ‘n roll of Crime; the experimental-yet-catchy electronic punk of Tuxedomoon; and the proto-hardcore of Negative Trend. But one band that stands on the shoulders of them all, and that’s Chrome, who had already released an LP before punk rock became a thing. When the core of the group became Damon Edge, a fantastic drummer, vocalist and experimental tape musician, and Helios Creed, a shredding guitarist that would take Stooges-style riffs and phaser pedals to new heights, music in general would never be the same. And though Chrome had SF-themed songs like “Meet Me In The Subway,” the moment they grabbed the music world by the face and smacked it until it paid attention was “TV As Eyes,” the perfect encapsulation of their oeuvre.\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/LB5YkmjalDg'\n title='//www.youtube.com/embed/LB5YkmjalDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>4. Huey Lewis and the News – “Hip to be Square”\u003c/h3>\n\u003cp>Obviously in a list of experimental, underground San Francisco bands, Huey Lewis and the News are the odd man out. But they’re here for a good reason: their impact as a band and their pride in their hometown cannot be underestimated. They’ve been written off as a ’80s pop band, when in actuality they were quite ballsier than the much of the dreck being forced down our throats on mid-’80s pop radio. And they didn’t keep their love of the city a secret; they not only featured San Francisco in their video for “I Want A New Drug,” they had the 49ers (specifically Joe Montana, Ronnie Lott and Dwight Clark (The Catch!)) sing backup vocals on “Hip To Be Square,” their retort to critics of their clean image.\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/LBQ2305fLeA'\n title='//www.youtube.com/embed/LBQ2305fLeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>5. Primus – “Jerry Was A Race Car Driver”\u003c/h3>\n\u003cp>Out of all the hard-rocking groups that came out of San Francisco in the ’90s, Primus is definitely the most representative of the city’s pervasive weirdness. They loved the Residents and had the technical ability to play with the best prog musicians, but they weren’t afraid to dumb it down and just rock. And even though they’re responsible for popularizing one of the most horrendous musical genres to be created, funk metal, a.k.a. “thrash funk,” it’s not like they did it on purpose. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Greg Lowery, bass player for the Rip Offs and mastermind behind the influential ’90s punk label Rip Off Records, will probably despise me for including him in this article. Sadly for him, this is one of the side effects of being in an band as awesome as the Rip Offs. In an era when pop-punk in all of its various forms ruled the indie record store, the Rip Offs were a breath of fresh-yet-spit-stained air. They had fun with their hometown — the back of their LP pictured the four members urinating on a SFPD van — but they also brought the tracks, with each cut being a two-minute burst of snotty punk energy. Out of all the songs on this list, “She Said Yeah” is the one I could have on repeat for hours, months — heck, maybe even like City Hall itself, for 100 years. It never gets old.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cb>Update:\u003c/b> The Golden State Warriors beat the Cleveland Cavaliers 105-97 in Game 6 of the NBA Finals, winning their first championship in 40 years. Please check KQED News for up-to-date coverage of the \u003ca href=\"http://ww2.kqed.org/news/2015/06/16/game-6-warriors-look-to-clinch-nba-championship\" target=\"_blank\" rel=\"noopener\">winning game and the following celebration\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>Every team needs a good anthem around the end of the season, and luckily for Warriors fans glued to the NBA Finals, the Bay Area’s own E-40 has been happy to oblige.\u003c/p>\n\u003cp>The original “Choices” was \u003ca href=\"https://www.thefader.com/2015/05/23/8-songs-you-need-in-your-life-this-memorial-day-weekend\" target=\"_blank\" rel=\"noopener\">already a banger\u003c/a>, but E-40’s remix in honor of the Warriors is pure fire. You’ve heard it blaring out of cars on International Blvd., you’ve Shazamed it off KMEL, and you’ve seen “YUP!” painted on the \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">Illuminaries’ famous Mac Dre / Steph Curry mural\u003c/a> at 27th and Northgate. \u003c/p>\n\u003cp>Now that the Warriors are NBA Champions, crank it up and let the Ballatician serenade Oakland as it celebrates the sweet victory:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bfYvtz3NbKE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cb>Update:\u003c/b> The Golden State Warriors beat the Cleveland Cavaliers 105-97 in Game 6 of the NBA Finals, winning their first championship in 40 years. Please check KQED News for up-to-date coverage of the \u003ca href=\"http://ww2.kqed.org/news/2015/06/16/game-6-warriors-look-to-clinch-nba-championship\" target=\"_blank\" rel=\"noopener\">winning game and the following celebration\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>Every team needs a good anthem around the end of the season, and luckily for Warriors fans glued to the NBA Finals, the Bay Area’s own E-40 has been happy to oblige.\u003c/p>\n\u003cp>The original “Choices” was \u003ca href=\"https://www.thefader.com/2015/05/23/8-songs-you-need-in-your-life-this-memorial-day-weekend\" target=\"_blank\" rel=\"noopener\">already a banger\u003c/a>, but E-40’s remix in honor of the Warriors is pure fire. You’ve heard it blaring out of cars on International Blvd., you’ve Shazamed it off KMEL, and you’ve seen “YUP!” painted on the \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">Illuminaries’ famous Mac Dre / Steph Curry mural\u003c/a> at 27th and Northgate. \u003c/p>\n\u003cp>Now that the Warriors are NBA Champions, crank it up and let the Ballatician serenade Oakland as it celebrates the sweet victory:\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/bfYvtz3NbKE'\n title='//www.youtube.com/embed/bfYvtz3NbKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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