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"content": "\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/209013737″ 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>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\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/209013737″&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/209013737″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stringing Us Along: Klein String Competition Gives Young Musicians a Career Boost",
"headTitle": "Stringing Us Along: Klein String Competition Gives Young Musicians a Career Boost | KQED",
"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong>\u003cbr>\nThe 30th annual Irving M. Klein International String Competition is now history. This year’s Chamberlain Family First Prizewinner is Oliver Herbert, the semi-finalist we talked to for our story below. Herbert grew up in San Francisco, attended Ruth Asawa School of the Arts and is a former member of the San Francisco Symphony Youth Orchestra. He’ll enter Philadelphia’s Curtis Institute this fall. The judges also awarded Herbert the prize for “Best Performance of Solo Bach.”\u003c/p>\n\u003cp>\u003cem>Here’s the original piece:\u003c/em>\u003c/p>\n\u003cp>One of the nation’s top music competitions is celebrating its 30th anniversary this week in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.californiamusiccenter.org/klein_about_competition.php\" target=\"_blank\" rel=\"noopener\">Irving M. Klein International String Competition\u003c/a> has given dozens of young musicians a boost as they started their careers.\u003c/p>\n\u003cp>Among the former winners are classical music superstars like violinist Jennifer Koh and up-and-comers such as \u003ca href=\"http://www.pugetsound.edu/faculty-pages/drequiro\" target=\"_blank\" rel=\"noopener\">cellist and Oaklander David Requiro\u003c/a>. The competition’s winners also go on to take leading positions in some of the country’s most prestigious orchestras, including The New York Philharmonic and the Boston Symphony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The top finishers get cash prizes, and the winner gets booked for five performances with Bay Area symphony and chamber ensembles.\u003c/p>\n\u003cp>We recently talked to former winner, 25-year-old violinist Tessa Lark (2008), and to 17-year-old Oliver Herbert of San Francisco, a cello player, and one of the eight semi-finalists in this year’s competition.\u003c/p>\n\u003cp>\u003cstrong>What’s so special about the Klein Competition?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing that drew me to it is that it’s what I call a real world competition, in that the prize involves a lot of performances afterwards. Of course it’s nice to win a competition, have it on your resume and win a cash prize of some sort. But what really drew me to the Klein is it puts your foot in the place you want to be early on.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m still kind of new to the competition scene. But I have some friends who’ve done it in the past. My goal in entering a competition isn’t necessarily to win a prize. It gives me a goal and something to practice for. It also gives me the experience of hearing other people. Because at a competition at that level, it’s really inspiring to meet the other musicians and play with them.\u003c/p>\n\u003cfigure id=\"attachment_10719910\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719910\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg\" alt=\"Oliver Herbert, one of eight Klein Competition semi-finalists this year\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-960x1440.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oliver Herbert, one of eight Klein Competition semi-finalists this year \u003ccite>(Todd Rosenberg Photography 2015)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your parents all play instruments. But what got you started playing when you were younger?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>There was always music around the house and I always wanted to create it myself. There was a toy keyboard that I played.\u003c/p>\n\u003cp>I played mandolin. Before mandolin, I was begging for piano lessons. But we didn’t have the means for a piano in the house at that time and the teacher we found also taught violin and said, “maybe you’d like to start with that instead.” I supposedly declared myself a violinist at age seven.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m told that I showed interest in playing. So when I was two or three years old, my parents started me on the violin and piano. I didn’t think that it was an unusual thing to be doing because both my parents were playing and there was always practicing in the house, so it was my way of fitting in. After a while I started to enjoy it. Eventually I discovered the cello when I was about five years old. When I was seven I got big enough and my parents allowed me start studies on the cello.\u003c/p>\n\u003cp>\u003cstrong>I get goose bumps as an audience member when I’m listening to a great performance of beautiful music. Why does performing mean so much to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>It’s exactly the same for me: It’s that goose bump factor — and that words are not required for instrumental music. In a way, it feels like a first language for me. So if you can’t put something into words, you can go to music and express yourself in that way. And I think that’s the amazing thing about the live concert experience too: that people can go about their days and then come to a concert and turn off their minds, woes and worries and be immersed in music.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>The start of it all was falling in love with the music itself, discovering new composers and listening to great music. And eventually when I started performing, I discovered how great and profound it was to be able to share that feeling with other people as well.\u003c/p>\n\u003cp>\u003cstrong>Who are your favorite composers? Whose music do you love to play?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing I love most is slow and sultry romantic music. I adore Brahms so much. Any of those composers who have the knack for writing beautiful “ear-worm” music. Schubert, Chopin.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yahbGooZ8cY\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I love to play solo Bach. I don’t love to perform it, honestly, because it’s very nerve-wracking. But sitting in a room by myself, Bach is really special because of the way he wrote for the cello. I love playing new music, and in the Klein competition I get to play a brand new piece — \u003cem>Ophelia\u003c/em> by \u003ca href=\"http://paolaprestini.com/\" target=\"_blank\" rel=\"noopener\">Paola Prestini,\u003c/a> commissioned for the competition. Recently I started a little project where I tried to transcribe some Schubert songs for the cello, because the cello is a very vocal instrument and I think the Schubert songs really translate well. But I very rarely find a piece that I don’t like playing. My tastes are broad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TdAe8oEZ0zk\u003c/p>\n\u003cp>\u003cstrong>What do you listen to when you’re not listening to classical music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Clark:\u003c/strong>\u003c/p>\n\u003cp>White noise.\u003c/p>\n\u003cp>I do like jazz a lot — any of the old greats like Miles Davis and Wynton Marsalis.\u003c/p>\n\u003cp>But also bluegrass fits in all the time, any day. I can let my hair down. I really like the “new grass” sounds of the Punch Brothers. Edgar Meyer does amazing stuff.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I used to love classic rock. I listened to Led Zeppelin a lot. And I also love alternative bands like Radiohead. But I’m playing so much music lately, that I actually don’t find a lot of time to just sit down and listen. The music on my phone is primarily classical these days.\u003c/p>\n\u003cp>\u003cstrong>Tessa: You mentioned white noise. Did you mean that?\u003c/strong>\u003c/p>\n\u003cp>I’m out in the countryside now here in upstate New York. Going out into the country and listening to nothing but natural sound is probably my favorite thing to do.\u003c/p>\n\u003cp>\u003cstrong>Oliver: What do you think about about what Tessa says about turning off the sound?\u003c/strong>\u003c/p>\n\u003cp>I agree silence is really great. I’m a cello player, so my instrument isn’t that loud. But my father is a timpanist. He always tells me how great it is to just get home and have nothing turned on and just sit in the quiet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 30th annual Irving M. Klein Competition takes place June 4-7, 2015 at San Francisco State University, San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong>\u003cbr>\nThe 30th annual Irving M. Klein International String Competition is now history. This year’s Chamberlain Family First Prizewinner is Oliver Herbert, the semi-finalist we talked to for our story below. Herbert grew up in San Francisco, attended Ruth Asawa School of the Arts and is a former member of the San Francisco Symphony Youth Orchestra. He’ll enter Philadelphia’s Curtis Institute this fall. The judges also awarded Herbert the prize for “Best Performance of Solo Bach.”\u003c/p>\n\u003cp>\u003cem>Here’s the original piece:\u003c/em>\u003c/p>\n\u003cp>One of the nation’s top music competitions is celebrating its 30th anniversary this week in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.californiamusiccenter.org/klein_about_competition.php\" target=\"_blank\" rel=\"noopener\">Irving M. Klein International String Competition\u003c/a> has given dozens of young musicians a boost as they started their careers.\u003c/p>\n\u003cp>Among the former winners are classical music superstars like violinist Jennifer Koh and up-and-comers such as \u003ca href=\"http://www.pugetsound.edu/faculty-pages/drequiro\" target=\"_blank\" rel=\"noopener\">cellist and Oaklander David Requiro\u003c/a>. The competition’s winners also go on to take leading positions in some of the country’s most prestigious orchestras, including The New York Philharmonic and the Boston Symphony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The top finishers get cash prizes, and the winner gets booked for five performances with Bay Area symphony and chamber ensembles.\u003c/p>\n\u003cp>We recently talked to former winner, 25-year-old violinist Tessa Lark (2008), and to 17-year-old Oliver Herbert of San Francisco, a cello player, and one of the eight semi-finalists in this year’s competition.\u003c/p>\n\u003cp>\u003cstrong>What’s so special about the Klein Competition?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing that drew me to it is that it’s what I call a real world competition, in that the prize involves a lot of performances afterwards. Of course it’s nice to win a competition, have it on your resume and win a cash prize of some sort. But what really drew me to the Klein is it puts your foot in the place you want to be early on.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m still kind of new to the competition scene. But I have some friends who’ve done it in the past. My goal in entering a competition isn’t necessarily to win a prize. It gives me a goal and something to practice for. It also gives me the experience of hearing other people. Because at a competition at that level, it’s really inspiring to meet the other musicians and play with them.\u003c/p>\n\u003cfigure id=\"attachment_10719910\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719910\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg\" alt=\"Oliver Herbert, one of eight Klein Competition semi-finalists this year\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Oliver-Herbert-Klein-Competition-Headshot-960x1440.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oliver Herbert, one of eight Klein Competition semi-finalists this year \u003ccite>(Todd Rosenberg Photography 2015)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your parents all play instruments. But what got you started playing when you were younger?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>There was always music around the house and I always wanted to create it myself. There was a toy keyboard that I played.\u003c/p>\n\u003cp>I played mandolin. Before mandolin, I was begging for piano lessons. But we didn’t have the means for a piano in the house at that time and the teacher we found also taught violin and said, “maybe you’d like to start with that instead.” I supposedly declared myself a violinist at age seven.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I’m told that I showed interest in playing. So when I was two or three years old, my parents started me on the violin and piano. I didn’t think that it was an unusual thing to be doing because both my parents were playing and there was always practicing in the house, so it was my way of fitting in. After a while I started to enjoy it. Eventually I discovered the cello when I was about five years old. When I was seven I got big enough and my parents allowed me start studies on the cello.\u003c/p>\n\u003cp>\u003cstrong>I get goose bumps as an audience member when I’m listening to a great performance of beautiful music. Why does performing mean so much to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>It’s exactly the same for me: It’s that goose bump factor — and that words are not required for instrumental music. In a way, it feels like a first language for me. So if you can’t put something into words, you can go to music and express yourself in that way. And I think that’s the amazing thing about the live concert experience too: that people can go about their days and then come to a concert and turn off their minds, woes and worries and be immersed in music.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>The start of it all was falling in love with the music itself, discovering new composers and listening to great music. And eventually when I started performing, I discovered how great and profound it was to be able to share that feeling with other people as well.\u003c/p>\n\u003cp>\u003cstrong>Who are your favorite composers? Whose music do you love to play?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Lark:\u003c/strong>\u003c/p>\n\u003cp>The thing I love most is slow and sultry romantic music. I adore Brahms so much. Any of those composers who have the knack for writing beautiful “ear-worm” music. Schubert, Chopin.\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/yahbGooZ8cY'\n title='//www.youtube.com/embed/yahbGooZ8cY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I love to play solo Bach. I don’t love to perform it, honestly, because it’s very nerve-wracking. But sitting in a room by myself, Bach is really special because of the way he wrote for the cello. I love playing new music, and in the Klein competition I get to play a brand new piece — \u003cem>Ophelia\u003c/em> by \u003ca href=\"http://paolaprestini.com/\" target=\"_blank\" rel=\"noopener\">Paola Prestini,\u003c/a> commissioned for the competition. Recently I started a little project where I tried to transcribe some Schubert songs for the cello, because the cello is a very vocal instrument and I think the Schubert songs really translate well. But I very rarely find a piece that I don’t like playing. My tastes are broad.\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/TdAe8oEZ0zk'\n title='//www.youtube.com/embed/TdAe8oEZ0zk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What do you listen to when you’re not listening to classical music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tessa Clark:\u003c/strong>\u003c/p>\n\u003cp>White noise.\u003c/p>\n\u003cp>I do like jazz a lot — any of the old greats like Miles Davis and Wynton Marsalis.\u003c/p>\n\u003cp>But also bluegrass fits in all the time, any day. I can let my hair down. I really like the “new grass” sounds of the Punch Brothers. Edgar Meyer does amazing stuff.\u003c/p>\n\u003cp>\u003cstrong>Oliver Herbert:\u003c/strong>\u003c/p>\n\u003cp>I used to love classic rock. I listened to Led Zeppelin a lot. And I also love alternative bands like Radiohead. But I’m playing so much music lately, that I actually don’t find a lot of time to just sit down and listen. The music on my phone is primarily classical these days.\u003c/p>\n\u003cp>\u003cstrong>Tessa: You mentioned white noise. Did you mean that?\u003c/strong>\u003c/p>\n\u003cp>I’m out in the countryside now here in upstate New York. Going out into the country and listening to nothing but natural sound is probably my favorite thing to do.\u003c/p>\n\u003cp>\u003cstrong>Oliver: What do you think about about what Tessa says about turning off the sound?\u003c/strong>\u003c/p>\n\u003cp>I agree silence is really great. I’m a cello player, so my instrument isn’t that loud. But my father is a timpanist. He always tells me how great it is to just get home and have nothing turned on and just sit in the quiet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 30th annual Irving M. Klein Competition takes place June 4-7, 2015 at San Francisco State University, San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "BottleRock 2015 Review: Now on its Feet, a Festival in Search of an Identity",
"headTitle": "BottleRock 2015 Review: Now on its Feet, a Festival in Search of an Identity | KQED",
"content": "\u003cp>The inaugural 2013 BottleRock festival in Napa was defined by a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> in an unbelievably small town. The second year came to be defined by a \u003ca href=\"http://www.stereogum.com/1676910/is-bottlerock-the-strangest-festival-lineup-of-2014/news/\" target=\"_blank\" rel=\"noopener\">1990s retro vibe\u003c/a> and the improbable \u003ca href=\"http://napavalleyregister.com/news/local/resurgent-bottlerock-will-return-in/article_177e8aef-fb76-5831-b37c-705fce7edc05.html\" target=\"_blank\" rel=\"noopener\">resurrection of the festival\u003c/a> as a profitable enterprise.\u003c/p>\n\u003cp>But now that BottleRock is here to stay, we headed to Napa this year with a mind to determine its place — a “one-of-a-kind music experience,” according to marketing materials — amidst the increasing numbers of other similar music festivals popping up all over the place.\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10720206,10720207,10720208,10720210,10720211,10720209\"]\u003c/p>\n\u003ch2>Friday, May 29\n\u003c/h2>\u003cp>Friday’s music at BottleRock got its first jolt of excitement with \u003ca href=\"http://courtneybarnett.com.au/\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, the Australian phenomenon whose debut album is guaranteed real estate on many year-end lists. With only a drummer and bassist, 26-year-old Barnett \u003ca href=\"https://www.youtube.com/watch?v=nHO1Xgp0ZSA\" target=\"_blank\" rel=\"noopener\">swayed and flailed around the stage\u003c/a> with no guitar pick, strumming chords with the back of her fingers and plucking out solos that pulled her catchy, urgent songs into new directions. Seeing the crowd slowly won over, with their cheers getting louder and longer after each song, was to witness a festival at its best: when it fosters discovery of new music.\u003c/p>\n\u003cp>But music takes a generally more diminished role at BottleRock. As a festival set in wine country, equal weight seems to be placed on wine and food. And since attendees can’t bring in their own food, options like $15 Indian plates and $23 pizza are a reality. Around 6:30pm on Friday, lines got very, very long. To save time, I found a short line, spent $9 on a bacon-topped hot dog, and then watched it fall apart in my hands. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The food focus was enhanced his year by a new Culinary Stage, where on Friday a crowd gathered to \u003cstrike>watch\u003c/strike> upload Instagram photos of Flavor Flav making fried chicken with \u003cem>Top Chef\u003c/em>’s Michael Voltaggio. But this idea of chefs and musicians in collaboration isn’t unique; it’s \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\" rel=\"noopener\">already a feature at Outside Lands\u003c/a> in San Francisco. The other noticeable new BottleRock attraction, the Silent Disco, has been \u003ca href=\"http://www.treasureislandfestival.com/2011/silent-disco/\" target=\"_blank\" rel=\"noopener\">happening at the Treasure Island Music Festival for several years\u003c/a>. Other features like large public art pieces, a food-truck court, and a VIP lounge with nice décor and low couches are standard-issue festival touches all over the country. \u003c/p>\n\u003cp>Was this truly a one-of-a-kind music experience? Halfway through the day, I couldn’t help but wonder what sort of meaningful cultural event I was supposed to be participating in.\u003c/p>\n\u003cp>Then I walked by a food booth called \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a>, which seemed apt. “White Guy Pad Thai” is a perfect four-word review of the festival; \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a> only exists because Pad Thai exists, and white guys want in on it, too. BottleRock exists only because other music festivals existed and \u003ca href=\"http://www.bohemian.com/northbay/start-of-something-big/Content?oid=2423150&showFullText=true\" target=\"_blank\" rel=\"noopener\">some white guys from Napa\u003c/a> wanted in on it too. Most of the bands are ready-made “festival bands,” like \u003ca href=\"http://www.themowglis.net/\" target=\"_blank\" rel=\"noopener\">the Mowglis\u003c/a>, all full of anthemic choruses and dance beats and magazine-current haircuts. The attendees fulfill their role as People Who Go To Festivals™, with headbands and booty shorts and lots of selfies, and only a passing interest in the music; the \u003cem>Press Democrat\u003c/em> \u003ca href=\"https://instagram.com/p/3Xqg0nSSaX/\" target=\"_blank\" rel=\"noopener\">quoted two people who either had no idea which bands were even playing, or just plain didn’t care\u003c/a>.\u003c/p>\n\u003cp>Public Enemy – who were welcomed to Napa in the local weekly by \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">being advised not to play “Fight the Power”\u003c/a> because police are \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">“sensitive around that kind of talk lately, especially when it’s coming from militant African Americans,”\u003c/a> I’m not kidding – delivered another welcome jolt of energy, dedicating “He Got Game” to Stephen Curry and playing a solid mix of classics and new material. \u003c/p>\n\u003cp>Backstage, I overheard someone ask Chuck D about his favorite type of wine. “I don’t drink,” he replied, going against the prevailing grain of BottleRock. In fact, on my half-mile walk back to the $40 parking lot, I saw a guy stumble down Soscol Ave., unable to hold himself up, and topple over the hood of a brand-new car and onto the ground at the Chevrolet dealership. —\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10720214,10720213,10720217,10720216,10720218,10720219\"]\u003c/p>\n\u003ch2>Saturday, May 30\u003c/h2>\n\u003cp>It was sometime after getting barked at by the lady at the first-aid station — the cost of free Band-Aids for one’s feet, as it turns out, is getting chastised for not wearing thicker socks to begin with — that we realized the tide had turned: the crowds weren’t happy day-drunk anymore. They were tired and wine-drunk, and they were going to take it out on their loved ones. A mom in rhinestone-covered sandals (while we’re talking footwear) scolded her teenage daughter for some rude rejoinder as they stormed away from the main stage, where the Avett Brothers were midway through \u003ca href=\"https://www.youtube.com/watch?v=8bqTdOq5duk\" target=\"_blank\" rel=\"noopener\">a huge-sounding set\u003c/a>.\u003c/p>\n\u003cp>Wine-fueled emotional volatility aside, the atmosphere on Saturday was something like a very expensive county fair: music to be heard, food trucks to wait in line for. With a short walk between four stages, festival \u003ca href=\"http://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FOMO\u003c/a> — the scourge of most fests with overlapping set times — was kept to a minimum. The sound, too, was the best of any outdoor show in recent memory. VIP areas and various levels of color-coded wristband hierarchy were present, but not to a degree that the general-admission experience felt like a cattle run.\u003c/p>\n\u003cp>So why did this festival, whose organizers have spent loads of money trying to rebrand it after a \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">disastrous first year\u003c/a>, still feel like something was missing? Witness Saturday’s Culinary Stage, where Scott Weiland and actor Earl Brown participated in a whole-hog butchery demonstration while answering stilted questions. (What’s on Weiland’s tour rider? Corona Light and socks.) Also new: the “Family Zone,” not to be confused with the “Craft Beer Zone,” which is, naturally, next to the “Whole Foods Market Culinary Garden.”\u003c/p>\n\u003cp>BottleRock has shown an affinity for ’90s throwback acts, so we’re going to borrow a line from Everclear: this festival is trying just a little too hard to be \u003ca href=\"https://www.youtube.com/watch?v=D1vQJFF2TKQ\" target=\"_blank\" rel=\"noopener\">everything to everyone\u003c/a>. The actual music part of the festival — at least, the ability to attract true music lovers, and then to direct attendees’ attention to the areas where music was happening — seemed to suffer as a result. \u003c/p>\n\u003cp>That’s a shame, because there were some excellent performances. At the top of that list is one Robert Plant, who took the stage in a mess of grey curls and a shiny silver shirt, opened his mouth, and delivered — in a voice that’s hardly aged at all — spine-tingling versions of both solo work and plenty of Led Zeppelin tunes, including “Whole Lotta Love,” “Going to California,” and “What Is and What Should Never Be.” The temperature had dropped at least 25 degrees in just 90 minutes, but none of the (mostly middle-aged) couples wrapped in blankets and swaying side to side seemed to mind. Same went for the mood over at Passion Pit’s stage, where Michael Angelakos & Co. delivered \u003ca href=\"https://www.youtube.com/watch?v=YeINWQDg7zg\" target=\"_blank\" rel=\"noopener\">infectiously, relentlessly upbeat electro-pop\u003c/a> for a similar audience, albeit one with maybe an average age of 23.\u003c/p>\n\u003cp>Other highlights, in no particular order, include a solid showing of local bands, including Doe Eye, Con Brio, the Brothers Comatose, and Fritz Montana; Portugal the Man covering Oasis, Pink Floyd, and “The Dayman Song” from \u003cem>It’s Always Sunny in Philadelphia\u003c/em>; funk powerhouse Lettuce and L.A. blues three-piece the Record Company both attracting great showings seemingly through sheer energy and likability alone, despite the presence of bigger names on nearby stages, and appearing to have more fun than anyone as a result.\u003c/p>\n\u003cp>Oh, and the big one: getting out of parking lot 8A in under 45 minutes. —\u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10720222,10720221,10720220,10720224,10720223,10720225\"]\u003c/p>\n\u003ch2>Sunday, May 31\u003c/h2>\n\u003cp>I went back into BottleRock on Sunday with an open mind. Echosmith, the band you know from “\u003ca href=\"https://www.youtube.com/watch?v=SSCzDykng4g\" target=\"_blank\" rel=\"noopener\">Cool Kids\u003c/a>,” helped freshen the outlook with a peppy set. Silverado Pickups segued from the Rolling Stones into the Grateful Dead. Los Amigos Invisibles had a full-fledged Latin ska dance party going on. Things were looking up.\u003c/p>\n\u003cp>But the collective attention was over on the Culinary Stage, where Snoop Dogg and chef Masaharu Morimoto joined forces for a sushi-making demo. It took Snoop less than 30 seconds to make the expected “roll one up” joke, and the short segment was more social spectacle than master class, anyway — kind of in the same way Vernon Davis’ earlier spot on the culinary stage was essentially an ongoing advertisement for his sponsor, a particular brand of beef jerky.\u003c/p>\n\u003cp>Put all this stuff together — the excitement of Snoop (“He’s dope!” announced stage host \u003ca href=\"https://twitter.com/liammayclem\" target=\"_blank\" rel=\"noopener\">Liam Mayclem\u003c/a>, awkwardly) in “the hood” of Napa (Mayclem, again); the showering of the crowd with free company swag while said company’s social media team takes photos to prove people’s excitement over a package of beef jerky; the \u003ca href=\"https://twitter.com/100PercentCork/status/604829664801005569\" target=\"_blank\" rel=\"noopener\">take-a-picture-of-this-and-Instagram-it-and-win-free-stuff\u003c/a> marketing apparatus in effect, widely, throughout the entire festival; the ho-hum lineup of predictable festival bands — and BottleRock’s identity starts to feel like one big opportunity to leverage one’s brand, both corporate and personal.\u003c/p>\n\u003cp>I’ve grown up in wine country, and I know Napa’s wine industry is especially thirsty for this leverage, hoping to mitigate its reputation for being old and staid. Apparently the insurance industry is, too: I walked by the Geico booth and noticed the staffers \u003ca href=\"https://instagram.com/p/3XYIocySYZ/\" target=\"_blank\" rel=\"noopener\">laying on their backs, having given up, making jokes on the mic about how nobody wanted to interact with their brand\u003c/a>. \u003c/p>\n\u003cp>As various executives funneled into the Platinum reserved area (six feet deep of guaranteed front-row viewing, \u003ca href=\"http://www.eventbrite.com/e/bottlerock-2015-platinum-tickets-with-vip-artist-lounge-access-may-30th-tickets-16886674498\" target=\"_blank\" rel=\"noopener\">tickets $3,500/pair\u003c/a>), Snoop Dogg took the stage to play songs that the general-admission crowd behind them knew much better, which is to say, at all: “P.I.M.P.,” “The Next Episode,” “Nuthin’ but a ‘G’ Thang,” “Drop it Like it’s Hot,” “Gin & Juice,” just a nonstop hit parade, peppered with snippets of songs by House of Pain, Notorious B.I.G., and Tupac. He had the crowd in the palm of his hand from the start, but by the time he closed with “\u003ca href=\"https://www.youtube.com/watch?v=Wa5B22KAkEk\" target=\"_blank\" rel=\"noopener\">Young, Wild & Free\u003c/a>,” he also achieved the festival brass ring of uniting 30,000 people in a singalong of love and positivity.\u003c/p>\n\u003cp>No Doubt followed with a similarly hit-ridden set, made off-kilter only for Gwen Stefani’s overeager testimonials about how she CAN’T BELIEVE you’re all here IN PERSON singing THESE SONGS with her, wow, it’s SO REAL. “I’m just trying to find people I connect with so I can think of their faces when I go to sleep at night,” she said in one of \u003ca href=\"https://youtu.be/nbEGgAPdoww?t=23m20s\" target=\"_blank\" rel=\"noopener\">many exhortations\u003c/a>. “Do you understand that? I’m going to \u003cem>think\u003c/em> of you tonight!”\u003c/p>\n\u003cp>Even for someone who never much cared much for No Doubt, I gotta say, they kept Snoop’s unifying ethos alive across the huge field. But the real spirit was outside the festival grounds: walking back to my car, I stopped into Nation’s Hamburgers, where the packed restaurant was interrupted by a man’s voice.\u003c/p>\n\u003cp>“Excuse me,” he announced, “but it’s this girl’s birthday, and she’s had a really terrible day. Can we all sing her ‘Happy Birthday?’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://instagram.com/p/3X6d-eSSRo/\" target=\"_blank\" rel=\"noopener\">Everyone in the place obliged while a huge smile spread across her face\u003c/a>. It was, you might say, a one-of-a-kind music experience. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10720232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg\" alt=\"The parking lot at BottleRock 2015. (Photo: Gabe Meline)\" width=\"800\" height=\"512\" class=\"size-full wp-image-10720232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441-400x256.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The parking lot at BottleRock 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "With this year's record-breaking attendance, BottleRock Napa Valley is here to stay. But what unique place does it really occupy amidst the increasing number of outdoor music festivals?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The inaugural 2013 BottleRock festival in Napa was defined by a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> in an unbelievably small town. The second year came to be defined by a \u003ca href=\"http://www.stereogum.com/1676910/is-bottlerock-the-strangest-festival-lineup-of-2014/news/\" target=\"_blank\" rel=\"noopener\">1990s retro vibe\u003c/a> and the improbable \u003ca href=\"http://napavalleyregister.com/news/local/resurgent-bottlerock-will-return-in/article_177e8aef-fb76-5831-b37c-705fce7edc05.html\" target=\"_blank\" rel=\"noopener\">resurrection of the festival\u003c/a> as a profitable enterprise.\u003c/p>\n\u003cp>But now that BottleRock is here to stay, we headed to Napa this year with a mind to determine its place — a “one-of-a-kind music experience,” according to marketing materials — amidst the increasing numbers of other similar music festivals popping up all over the place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Friday, May 29\n\u003c/h2>\u003cp>Friday’s music at BottleRock got its first jolt of excitement with \u003ca href=\"http://courtneybarnett.com.au/\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, the Australian phenomenon whose debut album is guaranteed real estate on many year-end lists. With only a drummer and bassist, 26-year-old Barnett \u003ca href=\"https://www.youtube.com/watch?v=nHO1Xgp0ZSA\" target=\"_blank\" rel=\"noopener\">swayed and flailed around the stage\u003c/a> with no guitar pick, strumming chords with the back of her fingers and plucking out solos that pulled her catchy, urgent songs into new directions. Seeing the crowd slowly won over, with their cheers getting louder and longer after each song, was to witness a festival at its best: when it fosters discovery of new music.\u003c/p>\n\u003cp>But music takes a generally more diminished role at BottleRock. As a festival set in wine country, equal weight seems to be placed on wine and food. And since attendees can’t bring in their own food, options like $15 Indian plates and $23 pizza are a reality. Around 6:30pm on Friday, lines got very, very long. To save time, I found a short line, spent $9 on a bacon-topped hot dog, and then watched it fall apart in my hands. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The food focus was enhanced his year by a new Culinary Stage, where on Friday a crowd gathered to \u003cstrike>watch\u003c/strike> upload Instagram photos of Flavor Flav making fried chicken with \u003cem>Top Chef\u003c/em>’s Michael Voltaggio. But this idea of chefs and musicians in collaboration isn’t unique; it’s \u003ca href=\"http://www.sfoutsidelands.com/gastromagic\" target=\"_blank\" rel=\"noopener\">already a feature at Outside Lands\u003c/a> in San Francisco. The other noticeable new BottleRock attraction, the Silent Disco, has been \u003ca href=\"http://www.treasureislandfestival.com/2011/silent-disco/\" target=\"_blank\" rel=\"noopener\">happening at the Treasure Island Music Festival for several years\u003c/a>. Other features like large public art pieces, a food-truck court, and a VIP lounge with nice décor and low couches are standard-issue festival touches all over the country. \u003c/p>\n\u003cp>Was this truly a one-of-a-kind music experience? Halfway through the day, I couldn’t help but wonder what sort of meaningful cultural event I was supposed to be participating in.\u003c/p>\n\u003cp>Then I walked by a food booth called \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a>, which seemed apt. “White Guy Pad Thai” is a perfect four-word review of the festival; \u003ca href=\"https://instagram.com/p/3SO6gVySRK/\" target=\"_blank\" rel=\"noopener\">White Guy Pad Thai\u003c/a> only exists because Pad Thai exists, and white guys want in on it, too. BottleRock exists only because other music festivals existed and \u003ca href=\"http://www.bohemian.com/northbay/start-of-something-big/Content?oid=2423150&showFullText=true\" target=\"_blank\" rel=\"noopener\">some white guys from Napa\u003c/a> wanted in on it too. Most of the bands are ready-made “festival bands,” like \u003ca href=\"http://www.themowglis.net/\" target=\"_blank\" rel=\"noopener\">the Mowglis\u003c/a>, all full of anthemic choruses and dance beats and magazine-current haircuts. The attendees fulfill their role as People Who Go To Festivals™, with headbands and booty shorts and lots of selfies, and only a passing interest in the music; the \u003cem>Press Democrat\u003c/em> \u003ca href=\"https://instagram.com/p/3Xqg0nSSaX/\" target=\"_blank\" rel=\"noopener\">quoted two people who either had no idea which bands were even playing, or just plain didn’t care\u003c/a>.\u003c/p>\n\u003cp>Public Enemy – who were welcomed to Napa in the local weekly by \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">being advised not to play “Fight the Power”\u003c/a> because police are \u003ca href=\"http://www.bohemian.com/northbay/letters-to-the-editor-may-20-2015/Content?oid=2717102\" target=\"_blank\" rel=\"noopener\">“sensitive around that kind of talk lately, especially when it’s coming from militant African Americans,”\u003c/a> I’m not kidding – delivered another welcome jolt of energy, dedicating “He Got Game” to Stephen Curry and playing a solid mix of classics and new material. \u003c/p>\n\u003cp>Backstage, I overheard someone ask Chuck D about his favorite type of wine. “I don’t drink,” he replied, going against the prevailing grain of BottleRock. In fact, on my half-mile walk back to the $40 parking lot, I saw a guy stumble down Soscol Ave., unable to hold himself up, and topple over the hood of a brand-new car and onto the ground at the Chevrolet dealership. —\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Saturday, May 30\u003c/h2>\n\u003cp>It was sometime after getting barked at by the lady at the first-aid station — the cost of free Band-Aids for one’s feet, as it turns out, is getting chastised for not wearing thicker socks to begin with — that we realized the tide had turned: the crowds weren’t happy day-drunk anymore. They were tired and wine-drunk, and they were going to take it out on their loved ones. A mom in rhinestone-covered sandals (while we’re talking footwear) scolded her teenage daughter for some rude rejoinder as they stormed away from the main stage, where the Avett Brothers were midway through \u003ca href=\"https://www.youtube.com/watch?v=8bqTdOq5duk\" target=\"_blank\" rel=\"noopener\">a huge-sounding set\u003c/a>.\u003c/p>\n\u003cp>Wine-fueled emotional volatility aside, the atmosphere on Saturday was something like a very expensive county fair: music to be heard, food trucks to wait in line for. With a short walk between four stages, festival \u003ca href=\"http://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FOMO\u003c/a> — the scourge of most fests with overlapping set times — was kept to a minimum. The sound, too, was the best of any outdoor show in recent memory. VIP areas and various levels of color-coded wristband hierarchy were present, but not to a degree that the general-admission experience felt like a cattle run.\u003c/p>\n\u003cp>So why did this festival, whose organizers have spent loads of money trying to rebrand it after a \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">disastrous first year\u003c/a>, still feel like something was missing? Witness Saturday’s Culinary Stage, where Scott Weiland and actor Earl Brown participated in a whole-hog butchery demonstration while answering stilted questions. (What’s on Weiland’s tour rider? Corona Light and socks.) Also new: the “Family Zone,” not to be confused with the “Craft Beer Zone,” which is, naturally, next to the “Whole Foods Market Culinary Garden.”\u003c/p>\n\u003cp>BottleRock has shown an affinity for ’90s throwback acts, so we’re going to borrow a line from Everclear: this festival is trying just a little too hard to be \u003ca href=\"https://www.youtube.com/watch?v=D1vQJFF2TKQ\" target=\"_blank\" rel=\"noopener\">everything to everyone\u003c/a>. The actual music part of the festival — at least, the ability to attract true music lovers, and then to direct attendees’ attention to the areas where music was happening — seemed to suffer as a result. \u003c/p>\n\u003cp>That’s a shame, because there were some excellent performances. At the top of that list is one Robert Plant, who took the stage in a mess of grey curls and a shiny silver shirt, opened his mouth, and delivered — in a voice that’s hardly aged at all — spine-tingling versions of both solo work and plenty of Led Zeppelin tunes, including “Whole Lotta Love,” “Going to California,” and “What Is and What Should Never Be.” The temperature had dropped at least 25 degrees in just 90 minutes, but none of the (mostly middle-aged) couples wrapped in blankets and swaying side to side seemed to mind. Same went for the mood over at Passion Pit’s stage, where Michael Angelakos & Co. delivered \u003ca href=\"https://www.youtube.com/watch?v=YeINWQDg7zg\" target=\"_blank\" rel=\"noopener\">infectiously, relentlessly upbeat electro-pop\u003c/a> for a similar audience, albeit one with maybe an average age of 23.\u003c/p>\n\u003cp>Other highlights, in no particular order, include a solid showing of local bands, including Doe Eye, Con Brio, the Brothers Comatose, and Fritz Montana; Portugal the Man covering Oasis, Pink Floyd, and “The Dayman Song” from \u003cem>It’s Always Sunny in Philadelphia\u003c/em>; funk powerhouse Lettuce and L.A. blues three-piece the Record Company both attracting great showings seemingly through sheer energy and likability alone, despite the presence of bigger names on nearby stages, and appearing to have more fun than anyone as a result.\u003c/p>\n\u003cp>Oh, and the big one: getting out of parking lot 8A in under 45 minutes. —\u003cem>Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Sunday, May 31\u003c/h2>\n\u003cp>I went back into BottleRock on Sunday with an open mind. Echosmith, the band you know from “\u003ca href=\"https://www.youtube.com/watch?v=SSCzDykng4g\" target=\"_blank\" rel=\"noopener\">Cool Kids\u003c/a>,” helped freshen the outlook with a peppy set. Silverado Pickups segued from the Rolling Stones into the Grateful Dead. Los Amigos Invisibles had a full-fledged Latin ska dance party going on. Things were looking up.\u003c/p>\n\u003cp>But the collective attention was over on the Culinary Stage, where Snoop Dogg and chef Masaharu Morimoto joined forces for a sushi-making demo. It took Snoop less than 30 seconds to make the expected “roll one up” joke, and the short segment was more social spectacle than master class, anyway — kind of in the same way Vernon Davis’ earlier spot on the culinary stage was essentially an ongoing advertisement for his sponsor, a particular brand of beef jerky.\u003c/p>\n\u003cp>Put all this stuff together — the excitement of Snoop (“He’s dope!” announced stage host \u003ca href=\"https://twitter.com/liammayclem\" target=\"_blank\" rel=\"noopener\">Liam Mayclem\u003c/a>, awkwardly) in “the hood” of Napa (Mayclem, again); the showering of the crowd with free company swag while said company’s social media team takes photos to prove people’s excitement over a package of beef jerky; the \u003ca href=\"https://twitter.com/100PercentCork/status/604829664801005569\" target=\"_blank\" rel=\"noopener\">take-a-picture-of-this-and-Instagram-it-and-win-free-stuff\u003c/a> marketing apparatus in effect, widely, throughout the entire festival; the ho-hum lineup of predictable festival bands — and BottleRock’s identity starts to feel like one big opportunity to leverage one’s brand, both corporate and personal.\u003c/p>\n\u003cp>I’ve grown up in wine country, and I know Napa’s wine industry is especially thirsty for this leverage, hoping to mitigate its reputation for being old and staid. Apparently the insurance industry is, too: I walked by the Geico booth and noticed the staffers \u003ca href=\"https://instagram.com/p/3XYIocySYZ/\" target=\"_blank\" rel=\"noopener\">laying on their backs, having given up, making jokes on the mic about how nobody wanted to interact with their brand\u003c/a>. \u003c/p>\n\u003cp>As various executives funneled into the Platinum reserved area (six feet deep of guaranteed front-row viewing, \u003ca href=\"http://www.eventbrite.com/e/bottlerock-2015-platinum-tickets-with-vip-artist-lounge-access-may-30th-tickets-16886674498\" target=\"_blank\" rel=\"noopener\">tickets $3,500/pair\u003c/a>), Snoop Dogg took the stage to play songs that the general-admission crowd behind them knew much better, which is to say, at all: “P.I.M.P.,” “The Next Episode,” “Nuthin’ but a ‘G’ Thang,” “Drop it Like it’s Hot,” “Gin & Juice,” just a nonstop hit parade, peppered with snippets of songs by House of Pain, Notorious B.I.G., and Tupac. He had the crowd in the palm of his hand from the start, but by the time he closed with “\u003ca href=\"https://www.youtube.com/watch?v=Wa5B22KAkEk\" target=\"_blank\" rel=\"noopener\">Young, Wild & Free\u003c/a>,” he also achieved the festival brass ring of uniting 30,000 people in a singalong of love and positivity.\u003c/p>\n\u003cp>No Doubt followed with a similarly hit-ridden set, made off-kilter only for Gwen Stefani’s overeager testimonials about how she CAN’T BELIEVE you’re all here IN PERSON singing THESE SONGS with her, wow, it’s SO REAL. “I’m just trying to find people I connect with so I can think of their faces when I go to sleep at night,” she said in one of \u003ca href=\"https://youtu.be/nbEGgAPdoww?t=23m20s\" target=\"_blank\" rel=\"noopener\">many exhortations\u003c/a>. “Do you understand that? I’m going to \u003cem>think\u003c/em> of you tonight!”\u003c/p>\n\u003cp>Even for someone who never much cared much for No Doubt, I gotta say, they kept Snoop’s unifying ethos alive across the huge field. But the real spirit was outside the festival grounds: walking back to my car, I stopped into Nation’s Hamburgers, where the packed restaurant was interrupted by a man’s voice.\u003c/p>\n\u003cp>“Excuse me,” he announced, “but it’s this girl’s birthday, and she’s had a really terrible day. Can we all sing her ‘Happy Birthday?’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://instagram.com/p/3X6d-eSSRo/\" target=\"_blank\" rel=\"noopener\">Everyone in the place obliged while a huge smile spread across her face\u003c/a>. It was, you might say, a one-of-a-kind music experience. — \u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10720232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg\" alt=\"The parking lot at BottleRock 2015. (Photo: Gabe Meline)\" width=\"800\" height=\"512\" class=\"size-full wp-image-10720232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2441-400x256.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The parking lot at BottleRock 2015. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Colin Hanks on His New Documentary About Tower Records",
"title": "Colin Hanks on His New Documentary About Tower Records",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>If you're looking to buy music these days, you can do it instantly online. But before you could download or stream music, there were record stores. And in California none was bigger than \u003ca href=\"http://towerrecordsproject.org/\" target=\"_blank\">Tower Records\u003c/a>. The chain, known for its big red-and-yellow logo, was born in Sacramento in 1960 -- and it peaked in 1999 with sales of $1 billion. But just five years later, Tower declared bankruptcy.\u003c/p>\n\u003cp>The rise and fall of Tower Records is the subject of the new documentary \"\u003ca href=\"http://www.towerrecordsmovie.com/\" target=\"_blank\">All Things Must Pass\u003c/a>.\" The California Report's Scott Shafer talked with the film's director, Colin Hanks.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/207899709\" 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>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What was it about this story that said to you, and to producer Sean Stuart, \"You know, we gotta make a documentary about Tower Records?\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Colin Hanks: \u003c/strong>When I found out how Russ Solomon started selling records, that was as close to a lightbulb moment as I’ve ever had from a creative standpoint. In 2006, an old family friend of mine was visiting me in New York and we were talking about what a bummer it was that Tower was closing. And she said, sort of in passing, 'It’s hard to believe that this all started with Russ Solomon selling used 78s out of his father’s drugstore in the 1940s.’ And I said, ‘Excuse me?’ I didn’t know about the way that it all started. And then the fact that no one else had tackled the subject was kind of a shocker to me.\u003c/p>\n\u003cfigure id=\"attachment_10547167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547167\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RussSolomon-800x532.jpg\" alt=\"Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store. \u003ccite>(Courtesy Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in Sacramento, right? And that's where Tower Records started. What are your own memories of those stores?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>Tower was always a point of civic pride for Sacramento. The fact a company as big and as renowned as Tower was not only started in Sacramento, but had been based there. Growing up, I bought my concert tickets there, I bought my first CDs, my cassette singles. I spent a lot of time in Tower, getting my musical history lessons.\u003c/p>\n\u003cp>\u003cstrong>The heart and soul, not just of Tower Records, but of this documentary is founder Russ Solomon. He created the store out of the back of his dad's drugstore in the \u003ca href=\"http://www.sacbee.com/news/local/history/article2582306.html\" target=\"_blank\">Tower Theatre\u003c/a>\u003c/strong>\u003cstrong> building in downtown Sacramento and ran with it.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks\u003c/strong>: Russ is such an amazing character. When you meet him, he's incredibly full of life. He's sharp-witted, quick-witted. And he's one of these guys who's constantly talking, constantly asking questions. He's a very curious individual, he's a very funny individual. And when we met Russ we just, you know, as soon as we met Russ, we knew we had something here. We had a lead character that was going to be engaging, that was going to be able to tell his story. And we just wanted to sort of get out of the way and capture that as best we could.\u003c/p>\n\u003cp>\u003cstrong>Shopping at Tower Records was an experience, but working there was a real experience, too. Virtually everyone it seems, at least according to the film, started there as a clerk and worked their way up, staying for, in some cases, 20 or 30 years. What was it that kept them there?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>I think just the overall vibe of the place. You know, when we were starting out the whole process, we were really interested in the fact that here is a company that could pretty much hire anyone it wanted. Insomuch as, at that time, especially in San Francisco, specifically in Sacramento, by that time the, you know, mid-'60s, late '60s, if you wanted a job in any sort of store, any place in which something needed to be sold, you needed a nice haircut. You needed to be in a suit. As \"Mad Men\" as it gets, that's what it was like.\u003c/p>\n\u003cfigure id=\"attachment_10547172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg\" alt=\"Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s.\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1440x1045.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-960x697.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s. \u003ccite>(Courtesy 'All Things Must Pass' / Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for Tower, none of that mattered. You could dress however you wanted. Your hair could be long. It really was the tip of the spear of the sort of counterculture vibe. So people who got jobs early on, in the company, in that period, you know the mid-'60s, late '60s, but even later on, as the company grew bigger, if you got that entry-level job you could stay there and work your way up. And that is incredibly special. I mean, especially if you look at companies nowadays, they don't have that kind of job security, the majority of the time.\u003c/p>\n\u003cp>\u003cstrong>And that loyalty ran both ways.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>And it ran both ways. It was not only respected by the company, it was encouraged. And so that is very special territory. And so, when our story ostensibly is about the beginning and middle and end of a company, what is that like for those people who worked there for 30 years? Twenty years? To have that kind of connection to the company and have that be severed? What is that heartbreak like for, you know, for people?\u003c/p>\n\u003cp>That part of the story I don't think started me off on this journey, but as we dug deeper we found these elements of this lineage of Tower that we just thought was incredibly special and unique. And was another reason why this film needed to be made. ’Cause we wanted people to realize that is part of Tower's legacy. It's not just where you bought that one CD a long time ago.\u003c/p>\n\u003cp>\u003cstrong>They had a good run. They peaked in 1999 taking in $1 billion and then in 2005 they filed for bankruptcy. What was that management style? Was the laid-back management style part of their downfall, or was it really bigger issues within the music industry?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>It was most definitely bigger issues, not only within the music industry but within the company themselves. I don't think that alcohol or drugs brought the company down, but there were definitely decisions made by Russ and by the powers that be at Tower that helped lead to its downfall. One of the things that we really wanted to explore in the film was the concept that \u003ca href=\"http://www.thedailybeast.com/articles/2014/06/06/15-years-after-napster-how-the-music-service-changed-the-industry.html\" target=\"_blank\">Napster \u003c/a>destroyed Tower. That's not 100 percent accurate. Napster was a part of it for sure. And you know, it definitely took a large bite out of the industry and Tower's receipts as well, but Russ and some of the people at Tower expanded into countries far and wide and over-expanded and made decisions that were not necessarily prudent.\u003c/p>\n\u003cp>That were really sort of based on hubris more than anything else, thinking that the party wasn't ever going to end. And you gotta remember, at that time, in the late '90s, you wouldn't necessarily think that any of this stuff was going to go away anytime soon. But technology is, you know, it changes. It evolves very quickly, and Tower was never really able to adjust.\u003c/p>\n\u003cp>\u003cstrong>Shafer: Nowadays people buying music aren't looking through bins of records or CDs. They're shopping online on places like iTunes. What is the loss to our culture?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks:\u003c/strong> There's so much conversation there about that, the personal connection is lost. There's the literal connotation of the personal connection of you buying music off of someone specifically, and then maybe a friendship being made from the clerk. And there is that, I don't deny that at all. But when I talk about the personal connection to music, I talk about the memories I have buying records.\u003c/p>\n\u003cp>I'm a little bit weird in that I remember where I was when I bought a specific album that means a great deal to me. I remember the city, I remember the store. There's an imprint on that music. And so, that personal connection to music I think is important because, look, I stream music, I buy music online. I don't remember where I was when I streamed a certain record or when I downloaded a certain record. But I remember where I was when I bought that CD that changed my life. So that personal connection definitely is hurting with this new era.\u003c/p>\n\u003cp>But the flip side of that is, I will never want for another record for as long as I live. I'll never be told, 'We just can't find that record anymore, you're never gonna be able to hear that one pressing from that one thing,' because it's all being digitized now and you can find it anywhere. So it's not necessarily bad. It's just different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"All Things Must Pass\" screens at \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\">San Francisco's DocFest\u003c/a> on June 4.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you're looking to buy music these days, you can do it instantly online. But before you could download or stream music, there were record stores. And in California none was bigger than \u003ca href=\"http://towerrecordsproject.org/\" target=\"_blank\">Tower Records\u003c/a>. The chain, known for its big red-and-yellow logo, was born in Sacramento in 1960 -- and it peaked in 1999 with sales of $1 billion. But just five years later, Tower declared bankruptcy.\u003c/p>\n\u003cp>The rise and fall of Tower Records is the subject of the new documentary \"\u003ca href=\"http://www.towerrecordsmovie.com/\" target=\"_blank\">All Things Must Pass\u003c/a>.\" The California Report's Scott Shafer talked with the film's director, Colin Hanks.\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/207899709&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/207899709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What was it about this story that said to you, and to producer Sean Stuart, \"You know, we gotta make a documentary about Tower Records?\"\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Colin Hanks: \u003c/strong>When I found out how Russ Solomon started selling records, that was as close to a lightbulb moment as I’ve ever had from a creative standpoint. In 2006, an old family friend of mine was visiting me in New York and we were talking about what a bummer it was that Tower was closing. And she said, sort of in passing, 'It’s hard to believe that this all started with Russ Solomon selling used 78s out of his father’s drugstore in the 1940s.’ And I said, ‘Excuse me?’ I didn’t know about the way that it all started. And then the fact that no one else had tackled the subject was kind of a shocker to me.\u003c/p>\n\u003cfigure id=\"attachment_10547167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547167\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RussSolomon-800x532.jpg\" alt=\"Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store. \u003ccite>(Courtesy Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in Sacramento, right? And that's where Tower Records started. What are your own memories of those stores?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>Tower was always a point of civic pride for Sacramento. The fact a company as big and as renowned as Tower was not only started in Sacramento, but had been based there. Growing up, I bought my concert tickets there, I bought my first CDs, my cassette singles. I spent a lot of time in Tower, getting my musical history lessons.\u003c/p>\n\u003cp>\u003cstrong>The heart and soul, not just of Tower Records, but of this documentary is founder Russ Solomon. He created the store out of the back of his dad's drugstore in the \u003ca href=\"http://www.sacbee.com/news/local/history/article2582306.html\" target=\"_blank\">Tower Theatre\u003c/a>\u003c/strong>\u003cstrong> building in downtown Sacramento and ran with it.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks\u003c/strong>: Russ is such an amazing character. When you meet him, he's incredibly full of life. He's sharp-witted, quick-witted. And he's one of these guys who's constantly talking, constantly asking questions. He's a very curious individual, he's a very funny individual. And when we met Russ we just, you know, as soon as we met Russ, we knew we had something here. We had a lead character that was going to be engaging, that was going to be able to tell his story. And we just wanted to sort of get out of the way and capture that as best we could.\u003c/p>\n\u003cp>\u003cstrong>Shopping at Tower Records was an experience, but working there was a real experience, too. Virtually everyone it seems, at least according to the film, started there as a clerk and worked their way up, staying for, in some cases, 20 or 30 years. What was it that kept them there?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>I think just the overall vibe of the place. You know, when we were starting out the whole process, we were really interested in the fact that here is a company that could pretty much hire anyone it wanted. Insomuch as, at that time, especially in San Francisco, specifically in Sacramento, by that time the, you know, mid-'60s, late '60s, if you wanted a job in any sort of store, any place in which something needed to be sold, you needed a nice haircut. You needed to be in a suit. As \"Mad Men\" as it gets, that's what it was like.\u003c/p>\n\u003cfigure id=\"attachment_10547172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg\" alt=\"Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s.\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1440x1045.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-960x697.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s. \u003ccite>(Courtesy 'All Things Must Pass' / Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for Tower, none of that mattered. You could dress however you wanted. Your hair could be long. It really was the tip of the spear of the sort of counterculture vibe. So people who got jobs early on, in the company, in that period, you know the mid-'60s, late '60s, but even later on, as the company grew bigger, if you got that entry-level job you could stay there and work your way up. And that is incredibly special. I mean, especially if you look at companies nowadays, they don't have that kind of job security, the majority of the time.\u003c/p>\n\u003cp>\u003cstrong>And that loyalty ran both ways.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>And it ran both ways. It was not only respected by the company, it was encouraged. And so that is very special territory. And so, when our story ostensibly is about the beginning and middle and end of a company, what is that like for those people who worked there for 30 years? Twenty years? To have that kind of connection to the company and have that be severed? What is that heartbreak like for, you know, for people?\u003c/p>\n\u003cp>That part of the story I don't think started me off on this journey, but as we dug deeper we found these elements of this lineage of Tower that we just thought was incredibly special and unique. And was another reason why this film needed to be made. ’Cause we wanted people to realize that is part of Tower's legacy. It's not just where you bought that one CD a long time ago.\u003c/p>\n\u003cp>\u003cstrong>They had a good run. They peaked in 1999 taking in $1 billion and then in 2005 they filed for bankruptcy. What was that management style? Was the laid-back management style part of their downfall, or was it really bigger issues within the music industry?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>It was most definitely bigger issues, not only within the music industry but within the company themselves. I don't think that alcohol or drugs brought the company down, but there were definitely decisions made by Russ and by the powers that be at Tower that helped lead to its downfall. One of the things that we really wanted to explore in the film was the concept that \u003ca href=\"http://www.thedailybeast.com/articles/2014/06/06/15-years-after-napster-how-the-music-service-changed-the-industry.html\" target=\"_blank\">Napster \u003c/a>destroyed Tower. That's not 100 percent accurate. Napster was a part of it for sure. And you know, it definitely took a large bite out of the industry and Tower's receipts as well, but Russ and some of the people at Tower expanded into countries far and wide and over-expanded and made decisions that were not necessarily prudent.\u003c/p>\n\u003cp>That were really sort of based on hubris more than anything else, thinking that the party wasn't ever going to end. And you gotta remember, at that time, in the late '90s, you wouldn't necessarily think that any of this stuff was going to go away anytime soon. But technology is, you know, it changes. It evolves very quickly, and Tower was never really able to adjust.\u003c/p>\n\u003cp>\u003cstrong>Shafer: Nowadays people buying music aren't looking through bins of records or CDs. They're shopping online on places like iTunes. What is the loss to our culture?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks:\u003c/strong> There's so much conversation there about that, the personal connection is lost. There's the literal connotation of the personal connection of you buying music off of someone specifically, and then maybe a friendship being made from the clerk. And there is that, I don't deny that at all. But when I talk about the personal connection to music, I talk about the memories I have buying records.\u003c/p>\n\u003cp>I'm a little bit weird in that I remember where I was when I bought a specific album that means a great deal to me. I remember the city, I remember the store. There's an imprint on that music. And so, that personal connection to music I think is important because, look, I stream music, I buy music online. I don't remember where I was when I streamed a certain record or when I downloaded a certain record. But I remember where I was when I bought that CD that changed my life. So that personal connection definitely is hurting with this new era.\u003c/p>\n\u003cp>But the flip side of that is, I will never want for another record for as long as I live. I'll never be told, 'We just can't find that record anymore, you're never gonna be able to hear that one pressing from that one thing,' because it's all being digitized now and you can find it anywhere. So it's not necessarily bad. It's just different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"All Things Must Pass\" screens at \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\">San Francisco's DocFest\u003c/a> on June 4.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-events-in-san-jose-you-might-not-know-about-but-should",
"title": "Summer Events in San Jose You Might Not Know About (But Should)",
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"content": "\u003cp>San Jose has been all a buzz over the news from last week that the city’s population hit the one million mark. According to the \u003ca href=\"http://www.prnewswire.com/news-releases/ten-us-cities-now-have-1-million-people-or-more-california-and-texas-each-have-three-of-these-places-300087265.html\" target=\"_blank\" rel=\"noopener\">U.S. Census Bureau,\u003c/a> this means that the South Bay city is one of ten in this nation to have a population that size or more. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like any city with a large population, San Jose has a wide variety of goings-on to keep the majority of our residents busy this summer. We have familiar events that you can count on that most metropolitan clusters have such as: \u003ca href=\"http://sjdowntown.com/musicinthepark/\" target=\"_blank\" rel=\"noopener\">Music in the Park\u003c/a>, Fourth of July Fireworks, free outdoor \u003ca href=\"http://www.symphonysiliconvalley.org/concerts.php?pagecontID=183\" target=\"_blank\" rel=\"noopener\">Symphony\u003c/a> concerts and a fantastic \u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Fest.\u003c/a> And in addition to these well produced, well-marketed blockbusters, we also have things to do that are smaller, niche-ier, and a little harder to find but uniquely our own. Whether you’re a legacy resident that has lived in the area since it was dense with orchards or you’re (fairly) new to the area and want to experience a diverse range of events, a memorable summer awaits you in San Jose.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\" alt=\"Kyle Yandow and Amy Anderson at #SJSkateNight no. 2.\" width=\"469\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight.jpg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-400x614.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-391x600.jpg 391w\" sizes=\"(max-width: 469px) 100vw, 469px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kyle Yandow and Amy Anderson at #SJSkateNight no. 2. \u003ccite>(PHoto by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Skate Night\u003c/h3>\n\u003ch5>Monthly event – ongoing \u003cbr>\n\u003ca href=\"https://www.facebook.com/groups/1507830799471347/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s hot summer days almost always slip into cool comfortable nights which makes for perfect roller skating weather. The South Bay is now devoid of indoor skating rinks so in the typical Silicon Valley problem-solving style, three residents — Justin Triano, Amy Hewett and Liz Ruiz (both former \u003ca href=\"http://svrollergirls.com/\">SV Roller Derby Girls\u003c/a>) — got together to make one big roving roller rink that travels through our downtown. Accompanied by a mobile disco sound unit and laser light show, the event moves throughout the evening to open plazas that are begging for people to use them. The organizers plan for the event to continue monthly. Skate rentals are available prior to the event and the start point location varies (announced 24 hours beforehand).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703412\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\" alt='Peter Mollica, \"Fence,\" stained glass, 2013. ' width=\"492\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-410x600.jpg 410w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Mollica, “Fence,” stained glass, 2013. \u003ccite>(Courtesy of the \"Sparks\" Exhibition at San Jose City College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>44th Annual Glass Arts Conference\u003c/h3>\n\u003ch5>June 5–7\u003cbr>\n\u003ca href=\"http://www.glassart.org/_San_Jose.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Seattle-based \u003ca href=\"http://www.glassart.org/\" target=\"_blank\" rel=\"noopener\">Glass Art Society\u003c/a> is hosting this year’s glass arts conference in downtown San Jose with the theme:\u003cem> Interface: Glass, Art, and Technology\u003c/em>. The host city was chosen because Silicon Valley is “where technology is king and new technological ideas are generated daily,” Roger MacPherson, GAS President said. The three day conference will engage glass artists and collectors in panel discussions, hands-on workshops, demos, a mobile hot shop, plus many free & open to the public events like the glass marketplace. In addition to the official GAS programming, \u003ca href=\"http://www.glassart.org/2015_Exhibitions_Gallery_Hop_.html\" target=\"_blank\" rel=\"noopener\">14 local galleries\u003c/a> are hosting concurrent glass exhibitions throughout the city center featuring themed shows as well as broad group displays of this fascinating material. A “Gallery Hop” is scheduled for Friday night June 5 with shuttle service departing every 30 minutes at key locations.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703409\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\" alt=\"Cellist Freya Seeburger at SubZERO Festival 2014.\" width=\"465\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-388x600.jpg 388w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellist Freya Seeburger at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SubZERO Festival\u003c/h3>\n\u003ch5>June 5 & 6\u003cbr>\n\u003ca href=\"http://subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>The SubZERO Festival, held annually on the \u003ca href=\"http://www.southfirstfridays.com/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> & Saturday of June, is the art scene’s kick-off party to the summer season in the South Bay. Now in its 8th year, this subculture gathering of those that dwell in the underground will once again take over the arts & culture district of San Jose known as the \u003ca href=\"https://www.facebook.com/pages/SoFA-District/70353431135?ref=hl\" target=\"_blank\" rel=\"noopener\">SoFA District\u003c/a>. This seemingly small area (just 3 blocks) will be packed with over a hundred visual artists, performers and independent creative businesses. The 3 stages of live music feature 24 bands in the indie, alternative and experimental genres. “All Hail the Progenitors of Culture” is their battle cry with the intention to show San Jose artists do live and thrive here all year round.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705940\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\" alt=\"Alchemy Garden at Rosicrucian Park.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alchemy Garden at Rosicrucian Park. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Alchemy Museum and Lab Exhibit at Rosicrucian Park\u003c/h3>\n\u003ch5>June 21\u003cbr>\n\u003ca href=\"http://www.rosicrucianpark.org/alchemy-museum\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">San Jose will soon be home to the world’s largest, and the nation’s only, Alchemy Museum and Lab. Curated and designed by practicing alchemist and author \u003ca href=\"http://dwhauck.com/\">Dennis William Hauck\u003c/a>, the museum will be located at Rosicrucian Park, the same grounds that houses the world famous \u003ca href=\"http://www.egyptianmuseum.org/\" target=\"_blank\" rel=\"noopener\">Rosicrucian Egyptian Museum\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10717729\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alchemy2.jpg\" alt=\"(Courtesy of Rosicrucian Park)\" width=\"382\" height=\"321\" class=\"size-thumbnail wp-image-10717729\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Rosicrucian Park)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In anticipation of the Alchemy Museum’s opening — slated for June 2016 — the Egyptian Museum will be presenting an exhibition that features highlights from the Alchemy Museum’s collection. While you’re there, be sure to check out the grounds, which feature numerous sculptures of ancient Egyptian gods, a Pythagoras statue, a Senet game, and the new Alchemy Garden, which is beautifully arranged to symbolize the four elements of Earth, Air, Fire and Water.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703414\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\" alt=\"Artist Avery Palmer at The Triton Museum of Art .\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer-400x272.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Avery Palmer at The Triton Museum of Art . \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>50 and Looking Forward…\u003c/i> at The Triton Museum of Art\u003c/h3>\n\u003ch5>Through July 12 \u003cbr>\n\u003ca href=\"http://www.tritonmuseum.org/exhibitions_50_andForward.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">For 50 years The Triton has dedicated its beautiful exhibition spaces to contemporary artists from the greater Bay Area. This summer they celebrate their 50th anniversary with \u003ci>50 and Looking Forward…\u003c/i>, which opened May 16th. The exhibition focuses on the future rather than the past, with 19 local artists that the curators have deemed “the ones to watch.” The group exhibit is as diverse as the area The Triton aims to serve. A great day to visit the museum and check out the show would be on June 20th during their \u003ca href=\"http://www.tritonmuseum.org/SpecialEvents.php\" target=\"_blank\" rel=\"noopener\">Summer Solstice Art Festival\u003c/a> that’s held on their back lawn, among their outdoor sculpture collection.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703413\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\" alt=\"Think and Die Thinking Festival\" width=\"582\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival-400x328.jpg 400w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Think and Die Thinking Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Think and Die Thinking\u003c/h3>\n\u003ch5>July 9–12 \u003cbr>\n\u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Since 2011 the Think and Die Thinking collective has held an annual DIY punk & indie music festival that’s by and for LGBT, women, and people of color. Each year the list of bands gets longer and the event spills over into another day. This year the event is 4 days and will be hosted by 3 venues to accommodate all the participants. The main venue, and beneficiary of the proceeds, is the \u003ca href=\"http://www.defrankcenter.org/\" target=\"_blank\" rel=\"noopener\">Billy De Frank LGBT Community Center;\u003c/a> a well respected and important resource for the LGBT community since 1981.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703410\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\" alt=\"Luna Park Chalk Art Festival\" width=\"539\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg 539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-449x600.jpg 449w\" sizes=\"(max-width: 539px) 100vw, 539px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luna Park Chalk Art Festival \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual Luna Park Chalk Art Festival\u003c/h3>\n\u003ch5>September 19\u003cbr>\n\u003ca href=\"http://lunaparkchalkart.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Luna Park Chalk Art Festival is a favorite community event that features local artists putting their talents towards raising awareness and grant funds for art programs in local schools. The artists’ canvas is a 4 foot by 4 foot section of concrete sidewalk that winds through the center area of the 10-acre Backesto Park. The mini murals begin on the Friday morning before. The artists then work through the day, finishing their ephemeral drawings by the start of the main event on Saturday, which is must-go as it features live music, vendor booths and food trucks.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Jose has been all a buzz over the news from last week that the city’s population hit the one million mark. According to the \u003ca href=\"http://www.prnewswire.com/news-releases/ten-us-cities-now-have-1-million-people-or-more-california-and-texas-each-have-three-of-these-places-300087265.html\" target=\"_blank\" rel=\"noopener\">U.S. Census Bureau,\u003c/a> this means that the South Bay city is one of ten in this nation to have a population that size or more. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like any city with a large population, San Jose has a wide variety of goings-on to keep the majority of our residents busy this summer. We have familiar events that you can count on that most metropolitan clusters have such as: \u003ca href=\"http://sjdowntown.com/musicinthepark/\" target=\"_blank\" rel=\"noopener\">Music in the Park\u003c/a>, Fourth of July Fireworks, free outdoor \u003ca href=\"http://www.symphonysiliconvalley.org/concerts.php?pagecontID=183\" target=\"_blank\" rel=\"noopener\">Symphony\u003c/a> concerts and a fantastic \u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Fest.\u003c/a> And in addition to these well produced, well-marketed blockbusters, we also have things to do that are smaller, niche-ier, and a little harder to find but uniquely our own. Whether you’re a legacy resident that has lived in the area since it was dense with orchards or you’re (fairly) new to the area and want to experience a diverse range of events, a memorable summer awaits you in San Jose.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\" alt=\"Kyle Yandow and Amy Anderson at #SJSkateNight no. 2.\" width=\"469\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight.jpg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-400x614.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-391x600.jpg 391w\" sizes=\"(max-width: 469px) 100vw, 469px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kyle Yandow and Amy Anderson at #SJSkateNight no. 2. \u003ccite>(PHoto by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Skate Night\u003c/h3>\n\u003ch5>Monthly event – ongoing \u003cbr>\n\u003ca href=\"https://www.facebook.com/groups/1507830799471347/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s hot summer days almost always slip into cool comfortable nights which makes for perfect roller skating weather. The South Bay is now devoid of indoor skating rinks so in the typical Silicon Valley problem-solving style, three residents — Justin Triano, Amy Hewett and Liz Ruiz (both former \u003ca href=\"http://svrollergirls.com/\">SV Roller Derby Girls\u003c/a>) — got together to make one big roving roller rink that travels through our downtown. Accompanied by a mobile disco sound unit and laser light show, the event moves throughout the evening to open plazas that are begging for people to use them. The organizers plan for the event to continue monthly. Skate rentals are available prior to the event and the start point location varies (announced 24 hours beforehand).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703412\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\" alt='Peter Mollica, \"Fence,\" stained glass, 2013. ' width=\"492\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-410x600.jpg 410w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Mollica, “Fence,” stained glass, 2013. \u003ccite>(Courtesy of the \"Sparks\" Exhibition at San Jose City College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>44th Annual Glass Arts Conference\u003c/h3>\n\u003ch5>June 5–7\u003cbr>\n\u003ca href=\"http://www.glassart.org/_San_Jose.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Seattle-based \u003ca href=\"http://www.glassart.org/\" target=\"_blank\" rel=\"noopener\">Glass Art Society\u003c/a> is hosting this year’s glass arts conference in downtown San Jose with the theme:\u003cem> Interface: Glass, Art, and Technology\u003c/em>. The host city was chosen because Silicon Valley is “where technology is king and new technological ideas are generated daily,” Roger MacPherson, GAS President said. The three day conference will engage glass artists and collectors in panel discussions, hands-on workshops, demos, a mobile hot shop, plus many free & open to the public events like the glass marketplace. In addition to the official GAS programming, \u003ca href=\"http://www.glassart.org/2015_Exhibitions_Gallery_Hop_.html\" target=\"_blank\" rel=\"noopener\">14 local galleries\u003c/a> are hosting concurrent glass exhibitions throughout the city center featuring themed shows as well as broad group displays of this fascinating material. A “Gallery Hop” is scheduled for Friday night June 5 with shuttle service departing every 30 minutes at key locations.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703409\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\" alt=\"Cellist Freya Seeburger at SubZERO Festival 2014.\" width=\"465\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-388x600.jpg 388w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellist Freya Seeburger at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SubZERO Festival\u003c/h3>\n\u003ch5>June 5 & 6\u003cbr>\n\u003ca href=\"http://subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>The SubZERO Festival, held annually on the \u003ca href=\"http://www.southfirstfridays.com/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> & Saturday of June, is the art scene’s kick-off party to the summer season in the South Bay. Now in its 8th year, this subculture gathering of those that dwell in the underground will once again take over the arts & culture district of San Jose known as the \u003ca href=\"https://www.facebook.com/pages/SoFA-District/70353431135?ref=hl\" target=\"_blank\" rel=\"noopener\">SoFA District\u003c/a>. This seemingly small area (just 3 blocks) will be packed with over a hundred visual artists, performers and independent creative businesses. The 3 stages of live music feature 24 bands in the indie, alternative and experimental genres. “All Hail the Progenitors of Culture” is their battle cry with the intention to show San Jose artists do live and thrive here all year round.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705940\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\" alt=\"Alchemy Garden at Rosicrucian Park.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alchemy Garden at Rosicrucian Park. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Alchemy Museum and Lab Exhibit at Rosicrucian Park\u003c/h3>\n\u003ch5>June 21\u003cbr>\n\u003ca href=\"http://www.rosicrucianpark.org/alchemy-museum\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">San Jose will soon be home to the world’s largest, and the nation’s only, Alchemy Museum and Lab. Curated and designed by practicing alchemist and author \u003ca href=\"http://dwhauck.com/\">Dennis William Hauck\u003c/a>, the museum will be located at Rosicrucian Park, the same grounds that houses the world famous \u003ca href=\"http://www.egyptianmuseum.org/\" target=\"_blank\" rel=\"noopener\">Rosicrucian Egyptian Museum\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10717729\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alchemy2.jpg\" alt=\"(Courtesy of Rosicrucian Park)\" width=\"382\" height=\"321\" class=\"size-thumbnail wp-image-10717729\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Rosicrucian Park)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In anticipation of the Alchemy Museum’s opening — slated for June 2016 — the Egyptian Museum will be presenting an exhibition that features highlights from the Alchemy Museum’s collection. While you’re there, be sure to check out the grounds, which feature numerous sculptures of ancient Egyptian gods, a Pythagoras statue, a Senet game, and the new Alchemy Garden, which is beautifully arranged to symbolize the four elements of Earth, Air, Fire and Water.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703414\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\" alt=\"Artist Avery Palmer at The Triton Museum of Art .\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer-400x272.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Avery Palmer at The Triton Museum of Art . \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>50 and Looking Forward…\u003c/i> at The Triton Museum of Art\u003c/h3>\n\u003ch5>Through July 12 \u003cbr>\n\u003ca href=\"http://www.tritonmuseum.org/exhibitions_50_andForward.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">For 50 years The Triton has dedicated its beautiful exhibition spaces to contemporary artists from the greater Bay Area. This summer they celebrate their 50th anniversary with \u003ci>50 and Looking Forward…\u003c/i>, which opened May 16th. The exhibition focuses on the future rather than the past, with 19 local artists that the curators have deemed “the ones to watch.” The group exhibit is as diverse as the area The Triton aims to serve. A great day to visit the museum and check out the show would be on June 20th during their \u003ca href=\"http://www.tritonmuseum.org/SpecialEvents.php\" target=\"_blank\" rel=\"noopener\">Summer Solstice Art Festival\u003c/a> that’s held on their back lawn, among their outdoor sculpture collection.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703413\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\" alt=\"Think and Die Thinking Festival\" width=\"582\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival-400x328.jpg 400w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Think and Die Thinking Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Think and Die Thinking\u003c/h3>\n\u003ch5>July 9–12 \u003cbr>\n\u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Since 2011 the Think and Die Thinking collective has held an annual DIY punk & indie music festival that’s by and for LGBT, women, and people of color. Each year the list of bands gets longer and the event spills over into another day. This year the event is 4 days and will be hosted by 3 venues to accommodate all the participants. The main venue, and beneficiary of the proceeds, is the \u003ca href=\"http://www.defrankcenter.org/\" target=\"_blank\" rel=\"noopener\">Billy De Frank LGBT Community Center;\u003c/a> a well respected and important resource for the LGBT community since 1981.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703410\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\" alt=\"Luna Park Chalk Art Festival\" width=\"539\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg 539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-449x600.jpg 449w\" sizes=\"(max-width: 539px) 100vw, 539px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luna Park Chalk Art Festival \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual Luna Park Chalk Art Festival\u003c/h3>\n\u003ch5>September 19\u003cbr>\n\u003ca href=\"http://lunaparkchalkart.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Luna Park Chalk Art Festival is a favorite community event that features local artists putting their talents towards raising awareness and grant funds for art programs in local schools. The artists’ canvas is a 4 foot by 4 foot section of concrete sidewalk that winds through the center area of the 10-acre Backesto Park. The mini murals begin on the Friday morning before. The artists then work through the day, finishing their ephemeral drawings by the start of the main event on Saturday, which is must-go as it features live music, vendor booths and food trucks.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Listen In: Trails and Ways' \"Jacaranda\"",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/207706688″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>A few years ago, recent UC Berkeley grad Keith Brower Brown traveled to Forteleza, a city on the northern coast of Brazil, to study the effects of wind farming on fishing villages. While there he bought a cuica — a medium-sized drum that sounds more like \u003ca href=\"https://www.youtube.com/watch?v=4rRjQI3ZTZw\" target=\"_blank\" rel=\"noopener\">an opossum being throttled to death\u003c/a> than any conventional percussion instrument. \u003c/p>\n\u003cp>One day his downstairs neighbor, Junior, yelled from his window to come down.\u003c/p>\n\u003cp>“Listen,” he told Brower Brown. “I’m the best cuica player in the city. I’ll be your teacher.” Beyond instructing Brower Brown on the cuica, Junior began bringing him to neighborhood jam sessions at the local samba bar, where Brower Brown found a welcoming community — one in which, perhaps inspired in part by $1 cocktails, “everyone sang along.”\u003c/p>\n\u003cp>In Brazil, Brower Brown began writing songs of his own on a borrowed nylon-string guitar. His songs celebrated both his love of bossa nova and his interest in indie rock. When he returned to the Bay Area, he assembled a band to flesh out the tracks he had written: Hannah Van Loon on guitars and synths, Emma Oppen on bass and Ian Quirk on drums. Trails and Ways was born, releasing the \u003cem>Trilingual\u003c/em> EP in 2013.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On June 2, Trails and Ways release their debut LP, \u003cem>Pathology\u003c/em>, on the esteemed Seattle label \u003ca href=\"http://www.barsuk.com/w3.cgi?vwy=artists\" target=\"_blank\" rel=\"noopener\">Barsuk\u003c/a>, home to big-name indie acts like Death Cab for Cutie, Mates of State and the Dismemberment Plan. \u003cem>Pathology\u003c/em> picks up where \u003cem>Trilingual\u003c/em> left off, combining bossa nova guitar patterns and rhythms with infectious pop hooks. Brower Brown and Oppen, with whom he shares lead vocal duties, sing in English, Spanish, Portuguese and a little German — you know, for good measure.\u003c/p>\n\u003cp>The band hits the road this month with Oakland’s \u003ca href=\"http://www.waterstridermusic.com/\" target=\"_blank\" rel=\"noopener\">Waterstrider\u003c/a>, starting with an album release show at the Independent on June 5 with \u003ca href=\"http://bellsatlas.com/\">Bells Atlas\u003c/a> and \u003ca href=\"https://www.facebook.com/perhapsymusic\" target=\"_blank\" rel=\"noopener\">Perhapsy\u003c/a>. Trails and Ways also plans a tour of Brazil for later in the summer, where \u003cem>Pathology\u003c/em> is being released on \u003ca href=\"http://www.balaclavarecords.com/\" target=\"_blank\" rel=\"noopener\">Balaclava Records\u003c/a>.\u003c/p>\n\u003cp>“To have them put it out is a dream come true,” Brower Brown says. “The last thing I expected was to get to go back and play this music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Listen to Trails and Ways discuss their new single, “Jararanda” above, and be sure to catch them at the Independent on Friday, June 5.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On June 2, Trails and Ways release their debut LP, \u003cem>Pathology\u003c/em>, on the esteemed Seattle label \u003ca href=\"http://www.barsuk.com/w3.cgi?vwy=artists\" target=\"_blank\" rel=\"noopener\">Barsuk\u003c/a>, home to big-name indie acts like Death Cab for Cutie, Mates of State and the Dismemberment Plan. \u003cem>Pathology\u003c/em> picks up where \u003cem>Trilingual\u003c/em> left off, combining bossa nova guitar patterns and rhythms with infectious pop hooks. Brower Brown and Oppen, with whom he shares lead vocal duties, sing in English, Spanish, Portuguese and a little German — you know, for good measure.\u003c/p>\n\u003cp>The band hits the road this month with Oakland’s \u003ca href=\"http://www.waterstridermusic.com/\" target=\"_blank\" rel=\"noopener\">Waterstrider\u003c/a>, starting with an album release show at the Independent on June 5 with \u003ca href=\"http://bellsatlas.com/\">Bells Atlas\u003c/a> and \u003ca href=\"https://www.facebook.com/perhapsymusic\" target=\"_blank\" rel=\"noopener\">Perhapsy\u003c/a>. Trails and Ways also plans a tour of Brazil for later in the summer, where \u003cem>Pathology\u003c/em> is being released on \u003ca href=\"http://www.balaclavarecords.com/\" target=\"_blank\" rel=\"noopener\">Balaclava Records\u003c/a>.\u003c/p>\n\u003cp>“To have them put it out is a dream come true,” Brower Brown says. “The last thing I expected was to get to go back and play this music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Listen to Trails and Ways discuss their new single, “Jararanda” above, and be sure to catch them at the Independent on Friday, June 5.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Kamasi Washington's 'The Epic' Lives Up to its Title",
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"content": "\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784151\" 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>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\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/206784151&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/206784151'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Survive BottleRock: A Veteran's Guide",
"headTitle": "How to Survive BottleRock: A Veteran’s Guide | 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/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>BottleRock Napa Valley\u003c/h2>\n\u003cdiv class=\"event-desc\">Three-day wine country music fest.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29-31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Napa Valley Expo\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As small cities go, Napa certainly has a big reputation… for wine. For rock ‘n’ roll? Not so much.\u003c/p>\n\u003cp>That’s changed, though, with \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa Valley\u003c/a>, which returns to the fairgrounds in Napa on May 29-31. Now in its third year, the festival started out as a five-day extravaganza with a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> too good to be true, or, more to the point, profitable: after paying the big-name bands, the original founders infamously left behind \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">$8.5 million in unpaid bills to workers and vendors\u003c/a>.\u003c/p>\n\u003cp>Under new ownership, the festival clearly seems to have ironed out the kinks of yesteryear. \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/artists/\" target=\"_blank\" rel=\"noopener\">This year’s lineup\u003c/a> boasts over 70 bands and performers, including headliners Imagine Dragons, No Doubt and Robert Plant. But if you’ve never been to BottleRock, there are a few things you should know. Take it from me: I’ve \u003ca href=\"http://www.pressdemocrat.com/news/2371011-181/bottlerocks-eclectic-lineup-wins-fans?page=0\" target=\"_blank\" rel=\"noopener\">been there\u003c/a>, three days each year since it started, and learned from my mistakes. Here are my tips.\u003c/p>\n\u003cfigure id=\"attachment_10703713\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg\" alt=\"A well-prepared dad at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A well-prepared dad at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>How to Get There\u003c/h2>\n\u003cp>Parking at BottleRock was last year’s biggest problem, with festival parking four miles away and irate attendees \u003ca href=\"https://instagram.com/p/osKITrSSe4/\" target=\"_blank\" rel=\"noopener\">waiting up to three hours in line\u003c/a> for the festival’s shuttles on Saturday night. This year, the lot is only half a mile away, but parking costs $35 presale and $40 at the gate. Far better to park somewhere along the 8, 10 or 11 routes of VINE, Napa’s city bus, and show your festival pass for a free ride. You can also park offsite and ride your bike in, but be aware that you can’t lock your bike up to the fences out front — all bikes are directed to bike valet parking, a few blocks away, which closes promptly at 11pm. (I learned this the hard way last year, showing up at 11:05pm to \u003ca href=\"https://instagram.com/p/oteiKSySRc/\" target=\"_blank\" rel=\"noopener\">a locked door and a two-mile walk back to my car\u003c/a>.)\u003c/p>\n\u003cp>Other options include a round-trip bus, which is new this year, and runs from Fairfield, Mill Valley, Oakland, Palo Alto, Sacramento, San Francisco, San Jose, Santa Rosa and Sonoma with two departure times and two return times. (Single-day roundtrip tickets are $30–$52.) A good tip is that on Sunday, probably much to the chagrin of the locals, street parking downtown is free with a short walk over the Third Street bridge to the festival. Certain neighbors near the site \u003ca href=\"https://instagram.com/p/oojY-FyScD/\" target=\"_blank\" rel=\"noopener\">curse BottleRock yet have no qualms about charging $20 for parking on their property\u003c/a>, and if you’re feeling like a baller, you can always hit up Jerovi Sanson at Villa Iris Jewelry – he’s the guy \u003ca href=\"https://instagram.com/p/ot3BvAySVx/\" target=\"_blank\" rel=\"noopener\">who charges $100 for parking directly across from the festival gates\u003c/a>! (Yes, a few Mercedes-Benz and Maserati owners took him up on it last year.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keep in mind, also, that there are scant few roads into and out of the city of Napa. Give yourself a comfortable cushion of time to deal with traffic congestion, which is inevitable when 30,000 people descend upon a relatively small town.\u003c/p>\n\u003cfigure id=\"attachment_10703710\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg\" alt=\"A young girl on her dad's shoulders watching L.L. Cool J at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A young girl on her dad’s shoulders watching L.L. Cool J at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Wear\u003c/h2>\n\u003cp>There’s hardly any shade at all to be found at the two biggest stages at BottleRock, so you’ll be in direct sunlight for hours; sunscreen is a must. That said, temperatures can drop quickly at night, so have a light sweater or sweatshirt on hand. As with any festival, it can get dusty — the first year’s attendees kicked up so much dust that the entire food area is \u003ca href=\"https://instagram.com/p/opDYadySds/\" target=\"_blank\" rel=\"noopener\">now covered in Astroturf\u003c/a> — so don’t wear anything you don’t want getting dirty and sweaty. The forecast for this weekend has highs in the 77°-81° range, so dress accordingly and comfortably; you’ll be walking from stage to stage throughout the day. Other than that, just \u003ca href=\"http://mic.com/articles/88941/the-awful-history-behind-why-hipsters-think-it-s-ok-to-wear-headdresses\" target=\"_blank\" rel=\"noopener\">don’t wear a Native American headdress\u003c/a> and you’ll be fine.\u003c/p>\n\u003ch2>Where to Watch\u003c/h2>\n\u003cp>At most BottleRock stages, it doesn’t really matter where you stand. (See: aforementioned lack of shade.) But at the Miner Family stage, you can wriggle your way alongside the wall of the building to the right of the stage and find a relaxing alcove with a decent view. This may be difficult at times, as BottleRock during peak hours can be a claustrophobe’s nightmare, with \u003ca href=\"https://instagram.com/p/orkdZWSSTJ/\" target=\"_blank\" rel=\"noopener\">slow-moving bottlenecks of bodies packed shoulder-to-shoulder\u003c/a>. \u003c/p>\n\u003cp>In addition to where to watch, also take note of \u003cem>when\u003c/em>. As mentioned, get there early to deal with any traffic, but if you also want to beat the crowds to leave, know that BottleRock strictly enforces a 10pm curfew. In fact, both Heart and the Cure got the power cut off last year right at 10pm, so if it’s 9:55 and Robert Plant still hasn’t fulfilled your far-fetched hope of performing the entire second side of Led Zeppelin’s \u003cem>IV\u003c/em>, you’re safe to bail.\u003c/p>\n\u003cfigure id=\"attachment_10703709\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg\" alt=\"Perry Farrell of Jane's Addiction chugs the local vino\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Perry Farrell of Jane’s Addiction chugs the local vino at BottleRock 2013. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Eat and Drink\u003c/h2>\n\u003cp>I’m still hoping that during his last days in office, along with the usual last-minute pardons, President Obama decrees that all outdoor music festivals shall be forced to provide free drinking water (or else be subject to the \u003ca href=\"http://mashable.com/2015/05/26/lil-b-curse-nba-based-god/\" target=\"_blank\" rel=\"noopener\">Based God Curse\u003c/a>). Thankfully, BottleRock already does this, allowing fans to bring in an empty water bottle to be refilled at stations throughout the festival grounds. Hooray!\u003c/p>\n\u003cp>Food is another matter — unlike other festivals, you can’t bring in your own food. Of course, this is Napa, so the eats on offer at BottleRock are fancy; they can also get pretty expensive, especially in the gourmet food court. I palled alongside food writer Heather Irwin from the \u003cem>Press Democrat\u003c/em> last year as she \u003ca href=\"http://www.biteclubeats.com/bottlerock-2014-food-trucks-restaurants-and-a-tragedy/\" target=\"_blank\" rel=\"noopener\">evaluated the culinary aspect of the festival\u003c/a>, and we deduced that the best bang for one’s buck was found at the food trucks (especially Curry Up Now, Me So Hungry and Drewski’s, all of which return this year). The wait times were up to 30 minutes, though, since many seemed to choose the trucks over the gourmet fare, which included $20 pizza and $12 sushi rolls.\u003c/p>\n\u003cp>Napa Valley, wine wonderland, yadda yadda: if you’re interested, \u003ca href=\"http://www.pressdemocrat.com/lifestyle/3831729-181/bottlerock-2015-food-and-chef?page=0\" target=\"_blank\" rel=\"noopener\">here’s Heather Irwin’s rundown\u003c/a> of all the wineries, as well as all the Michelin-starred chefs, destination restaurants and cooking reality-show winners who’ll be slinging their creations at BottleRock 2015. The short version: good luck finding a simple hot dog.\u003c/p>\n\u003ch2>Besides the Bands\u003c/h2>\n\u003cp>That said, it’s the food vendors who are taking part in the most interesting non-musical feature of BottleRock: a fifth stage hosting collaborations between chefs and musicians. Pulling a page from the \u003ca href=\"https://instagram.com/p/rdOFSdSSZv/\" target=\"_blank\" rel=\"noopener\">Outside Lands handbook\u003c/a>, the festival is allowing Flavor Flav, for example, to discuss actual flavor with \u003cem>Top Chef\u003c/em> winner Michael Voltaggio. The \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2015-set-times/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> includes 13 of these mashups, which also feature sports figures like Vernon Davis and Fred Couples, but easily the best of the bunch — and sure to be the most packed — is Snoop Dogg and Masaharu Morimoto, on stage, together at last. No one knows exactly what’s in store for the two, but if you’ve ever seen \u003ca href=\"http://www.marthastewart.com/245797/snoop-dogg#245797\" target=\"_blank\" rel=\"noopener\">Snoop make brownies with Martha Stewart\u003c/a>, you know you’re in for a treat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>BottleRock runs May 29-31 at the Napa Valley Expo in Napa. Single-day tickets are still available. More details over at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock’s site\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10703708\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg\" alt=\"BottleRock 2014: the afterglow. (Photo: Gabe Meline)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10703708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock 2014: the afterglow. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Our tips on how to spend three days in Napa this weekend, see dozens of great bands in the heart of wine country, and get out of there alive.\r\n",
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"description": "Our tips on how to spend three days in Napa this weekend, see dozens of great bands in the heart of wine country, and get out of there alive.\r\n",
"title": "How to Survive BottleRock: A Veteran's Guide | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>BottleRock Napa Valley\u003c/h2>\n\u003cdiv class=\"event-desc\">Three-day wine country music fest.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29-31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Napa Valley Expo\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As small cities go, Napa certainly has a big reputation… for wine. For rock ‘n’ roll? Not so much.\u003c/p>\n\u003cp>That’s changed, though, with \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa Valley\u003c/a>, which returns to the fairgrounds in Napa on May 29-31. Now in its third year, the festival started out as a five-day extravaganza with a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> too good to be true, or, more to the point, profitable: after paying the big-name bands, the original founders infamously left behind \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">$8.5 million in unpaid bills to workers and vendors\u003c/a>.\u003c/p>\n\u003cp>Under new ownership, the festival clearly seems to have ironed out the kinks of yesteryear. \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/artists/\" target=\"_blank\" rel=\"noopener\">This year’s lineup\u003c/a> boasts over 70 bands and performers, including headliners Imagine Dragons, No Doubt and Robert Plant. But if you’ve never been to BottleRock, there are a few things you should know. Take it from me: I’ve \u003ca href=\"http://www.pressdemocrat.com/news/2371011-181/bottlerocks-eclectic-lineup-wins-fans?page=0\" target=\"_blank\" rel=\"noopener\">been there\u003c/a>, three days each year since it started, and learned from my mistakes. Here are my tips.\u003c/p>\n\u003cfigure id=\"attachment_10703713\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg\" alt=\"A well-prepared dad at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A well-prepared dad at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>How to Get There\u003c/h2>\n\u003cp>Parking at BottleRock was last year’s biggest problem, with festival parking four miles away and irate attendees \u003ca href=\"https://instagram.com/p/osKITrSSe4/\" target=\"_blank\" rel=\"noopener\">waiting up to three hours in line\u003c/a> for the festival’s shuttles on Saturday night. This year, the lot is only half a mile away, but parking costs $35 presale and $40 at the gate. Far better to park somewhere along the 8, 10 or 11 routes of VINE, Napa’s city bus, and show your festival pass for a free ride. You can also park offsite and ride your bike in, but be aware that you can’t lock your bike up to the fences out front — all bikes are directed to bike valet parking, a few blocks away, which closes promptly at 11pm. (I learned this the hard way last year, showing up at 11:05pm to \u003ca href=\"https://instagram.com/p/oteiKSySRc/\" target=\"_blank\" rel=\"noopener\">a locked door and a two-mile walk back to my car\u003c/a>.)\u003c/p>\n\u003cp>Other options include a round-trip bus, which is new this year, and runs from Fairfield, Mill Valley, Oakland, Palo Alto, Sacramento, San Francisco, San Jose, Santa Rosa and Sonoma with two departure times and two return times. (Single-day roundtrip tickets are $30–$52.) A good tip is that on Sunday, probably much to the chagrin of the locals, street parking downtown is free with a short walk over the Third Street bridge to the festival. Certain neighbors near the site \u003ca href=\"https://instagram.com/p/oojY-FyScD/\" target=\"_blank\" rel=\"noopener\">curse BottleRock yet have no qualms about charging $20 for parking on their property\u003c/a>, and if you’re feeling like a baller, you can always hit up Jerovi Sanson at Villa Iris Jewelry – he’s the guy \u003ca href=\"https://instagram.com/p/ot3BvAySVx/\" target=\"_blank\" rel=\"noopener\">who charges $100 for parking directly across from the festival gates\u003c/a>! (Yes, a few Mercedes-Benz and Maserati owners took him up on it last year.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keep in mind, also, that there are scant few roads into and out of the city of Napa. Give yourself a comfortable cushion of time to deal with traffic congestion, which is inevitable when 30,000 people descend upon a relatively small town.\u003c/p>\n\u003cfigure id=\"attachment_10703710\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg\" alt=\"A young girl on her dad's shoulders watching L.L. Cool J at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A young girl on her dad’s shoulders watching L.L. Cool J at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Wear\u003c/h2>\n\u003cp>There’s hardly any shade at all to be found at the two biggest stages at BottleRock, so you’ll be in direct sunlight for hours; sunscreen is a must. That said, temperatures can drop quickly at night, so have a light sweater or sweatshirt on hand. As with any festival, it can get dusty — the first year’s attendees kicked up so much dust that the entire food area is \u003ca href=\"https://instagram.com/p/opDYadySds/\" target=\"_blank\" rel=\"noopener\">now covered in Astroturf\u003c/a> — so don’t wear anything you don’t want getting dirty and sweaty. The forecast for this weekend has highs in the 77°-81° range, so dress accordingly and comfortably; you’ll be walking from stage to stage throughout the day. Other than that, just \u003ca href=\"http://mic.com/articles/88941/the-awful-history-behind-why-hipsters-think-it-s-ok-to-wear-headdresses\" target=\"_blank\" rel=\"noopener\">don’t wear a Native American headdress\u003c/a> and you’ll be fine.\u003c/p>\n\u003ch2>Where to Watch\u003c/h2>\n\u003cp>At most BottleRock stages, it doesn’t really matter where you stand. (See: aforementioned lack of shade.) But at the Miner Family stage, you can wriggle your way alongside the wall of the building to the right of the stage and find a relaxing alcove with a decent view. This may be difficult at times, as BottleRock during peak hours can be a claustrophobe’s nightmare, with \u003ca href=\"https://instagram.com/p/orkdZWSSTJ/\" target=\"_blank\" rel=\"noopener\">slow-moving bottlenecks of bodies packed shoulder-to-shoulder\u003c/a>. \u003c/p>\n\u003cp>In addition to where to watch, also take note of \u003cem>when\u003c/em>. As mentioned, get there early to deal with any traffic, but if you also want to beat the crowds to leave, know that BottleRock strictly enforces a 10pm curfew. In fact, both Heart and the Cure got the power cut off last year right at 10pm, so if it’s 9:55 and Robert Plant still hasn’t fulfilled your far-fetched hope of performing the entire second side of Led Zeppelin’s \u003cem>IV\u003c/em>, you’re safe to bail.\u003c/p>\n\u003cfigure id=\"attachment_10703709\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg\" alt=\"Perry Farrell of Jane's Addiction chugs the local vino\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Perry Farrell of Jane’s Addiction chugs the local vino at BottleRock 2013. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Eat and Drink\u003c/h2>\n\u003cp>I’m still hoping that during his last days in office, along with the usual last-minute pardons, President Obama decrees that all outdoor music festivals shall be forced to provide free drinking water (or else be subject to the \u003ca href=\"http://mashable.com/2015/05/26/lil-b-curse-nba-based-god/\" target=\"_blank\" rel=\"noopener\">Based God Curse\u003c/a>). Thankfully, BottleRock already does this, allowing fans to bring in an empty water bottle to be refilled at stations throughout the festival grounds. Hooray!\u003c/p>\n\u003cp>Food is another matter — unlike other festivals, you can’t bring in your own food. Of course, this is Napa, so the eats on offer at BottleRock are fancy; they can also get pretty expensive, especially in the gourmet food court. I palled alongside food writer Heather Irwin from the \u003cem>Press Democrat\u003c/em> last year as she \u003ca href=\"http://www.biteclubeats.com/bottlerock-2014-food-trucks-restaurants-and-a-tragedy/\" target=\"_blank\" rel=\"noopener\">evaluated the culinary aspect of the festival\u003c/a>, and we deduced that the best bang for one’s buck was found at the food trucks (especially Curry Up Now, Me So Hungry and Drewski’s, all of which return this year). The wait times were up to 30 minutes, though, since many seemed to choose the trucks over the gourmet fare, which included $20 pizza and $12 sushi rolls.\u003c/p>\n\u003cp>Napa Valley, wine wonderland, yadda yadda: if you’re interested, \u003ca href=\"http://www.pressdemocrat.com/lifestyle/3831729-181/bottlerock-2015-food-and-chef?page=0\" target=\"_blank\" rel=\"noopener\">here’s Heather Irwin’s rundown\u003c/a> of all the wineries, as well as all the Michelin-starred chefs, destination restaurants and cooking reality-show winners who’ll be slinging their creations at BottleRock 2015. The short version: good luck finding a simple hot dog.\u003c/p>\n\u003ch2>Besides the Bands\u003c/h2>\n\u003cp>That said, it’s the food vendors who are taking part in the most interesting non-musical feature of BottleRock: a fifth stage hosting collaborations between chefs and musicians. Pulling a page from the \u003ca href=\"https://instagram.com/p/rdOFSdSSZv/\" target=\"_blank\" rel=\"noopener\">Outside Lands handbook\u003c/a>, the festival is allowing Flavor Flav, for example, to discuss actual flavor with \u003cem>Top Chef\u003c/em> winner Michael Voltaggio. The \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2015-set-times/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> includes 13 of these mashups, which also feature sports figures like Vernon Davis and Fred Couples, but easily the best of the bunch — and sure to be the most packed — is Snoop Dogg and Masaharu Morimoto, on stage, together at last. No one knows exactly what’s in store for the two, but if you’ve ever seen \u003ca href=\"http://www.marthastewart.com/245797/snoop-dogg#245797\" target=\"_blank\" rel=\"noopener\">Snoop make brownies with Martha Stewart\u003c/a>, you know you’re in for a treat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>BottleRock runs May 29-31 at the Napa Valley Expo in Napa. Single-day tickets are still available. More details over at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock’s site\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10703708\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg\" alt=\"BottleRock 2014: the afterglow. (Photo: Gabe Meline)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10703708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock 2014: the afterglow. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Quiz: How Well Do You Know the Band Spoon?",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/spoon/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Spoon\u003c/h2>\n\u003cdiv class=\"event-desc\">Almighty purveyors of askew pop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/spoon/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since forming in 1993, Spoon has become one of the busiest and most reliable bands in the business, releasing eight critically acclaimed albums and touring near-constantly.\u003c/p>\n\u003cp>But… how well do \u003cem>you\u003c/em> know Spoon? Before their show at the Fox Theater in Oakland, on May 29, put your knowledge to the test with this quiz!\u003c/p>\n\u003cp>[polldaddy type=\"iframe\" survey=\"A2069D5E9D8654D0\" height=\"auto\" domain=\"kqed\" id=\"how-well-do-you-know-band-spoon\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\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/spoon/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Spoon\u003c/h2>\n\u003cdiv class=\"event-desc\">Almighty purveyors of askew pop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/spoon/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since forming in 1993, Spoon has become one of the busiest and most reliable bands in the business, releasing eight critically acclaimed albums and touring near-constantly.\u003c/p>\n\u003cp>But… how well do \u003cem>you\u003c/em> know Spoon? Before their show at the Fox Theater in Oakland, on May 29, put your knowledge to the test with this quiz!\u003c/p>\n\u003cp>[polldaddy type=\"iframe\" survey=\"A2069D5E9D8654D0\" height=\"auto\" domain=\"kqed\" id=\"how-well-do-you-know-band-spoon\"]\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "F.W. Murnau’s 'The Last Laugh' Gets a Bold New Sound",
"headTitle": "F.W. Murnau’s ‘The Last Laugh’ Gets a Bold New Sound | 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/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Silent Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Pristine prints and premiere musicians.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28-Jun. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Creating a new score for a classic silent film is a big responsibility, one that Sheldon Mirowitz takes very seriously. A professor in the Berklee College of Music’s Film Scoring Department, he teaches a coveted class in which he leads a small group in creating a commissioned score for an iconic film from the silent era. The Berklee Silent Film Orchestra (BSFO) makes its West Coast debut Friday, May 29 at the Castro Theatre as part of the 20th annual \u003cstrong>\u003ca href=\"http://www.silentfilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/strong>, performing a recently premiered original score to F.W. Murnau’s 1924 masterpiece \u003cem>The Last Laugh\u003c/em>.\u003c/p>\n\u003cp>“This is our coming out party to the silent film community,” says Mirowitz, a long-time professor in the world’s only undergraduate degree program in film scoring. “It’s a wonderful movie. The main thing for me is that I want to do something that will help make it accessible so people can experience it the way it’s supposed to be. I don’t want to make this a concert with the film playing in the background. The film is already a masterpiece, and our score is going to make it even cooler.”\u003c/p>\n\u003cfigure id=\"attachment_10698145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10698145 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg\" alt=\"The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau's <i>The Last Laugh</i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau’s \u003ci>The Last Laugh\u003c/i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Last Laugh\u003c/em> stars the brilliant Swiss-born German/Austrian actor Emil Jannings, whose life trajectory in some ways echoes the fate of the film’s protagonist. A major star best known for his collaborations with Murnau and Josef von Sternberg, Jannings won the first Academy Award for best actor in 1927-28. Like so many silent era peers, the advent of sound ended his rise in Hollywood, but he thrived back in Europe, starring in classics like \u003cem>The Blue Angel\u003c/em> with Marlene Dietrich. But his willingness to work extensively with the Nazi regime meant he was barred from film after the war, and he died in obscurity in 1950.\u003c/p>\n\u003cp>Widely considered his greatest role, his chief porter in \u003cem>The Last Laugh\u003c/em> works in a luxurious hotel. The respect and dignity of his position evaporates when he’s demoted to restroom attendant, and the film explores his efforts to hide his humiliation from his family. For Friday’s screening, the Berklee Silent Film Orchestra performs their score to a new, \u003ca href=\"http://en.wikipedia.org/wiki/Digital_Cinema_Package\" target=\"_blank\" rel=\"noopener\">high-definition DCP print\u003c/a> of the film never previously seen in the U.S., obtained by the festival from the Friedrich Wilhelm Murnau Foundation.\u003c/p>\n\u003cp>With every member of Mirowitz’s class taking turns conducting and sometimes playing, each BSFO performance requires intricate choreography. The ensemble’s instrumentation features strings, woodwinds and brass.\u003c/p>\n\u003cfigure id=\"attachment_10698149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg\" alt=\"Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Allen Staats)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Staats)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past five years, Mirowitz and his classes have scored nine classic silent features, including Sergei Eisenstein’s \u003cem>Battleship Potemkin\u003c/em>, Ewald André Dupont’s \u003cem>Piccadilly\u003c/em>, Murnau’s \u003cem>Faust\u003c/em>, Harold Lloyd’s \u003cem>Safety Last\u003c/em> and Rupert Julian’s \u003cem>Phantom of the Opera\u003c/em>, which were all commissioned by the Coolidge Corner Theatre in Brookline, Mass., as part of the theater’s \u003cstrong>\u003ca href=\"http://www.coolidge.org/programs/sounds-of-silents\" target=\"_blank\" rel=\"noopener\">Sounds of Silents\u003c/a>\u003c/strong> program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rather than treating the films as historical documents, Mirowitz approaches the movies as works of art with a vocabulary that’s largely unfamiliar to contemporary audiences. The job of the score is “to make the story come more alive,” he says. “We get to make it new.”\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/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Silent Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Pristine prints and premiere musicians.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28-Jun. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Creating a new score for a classic silent film is a big responsibility, one that Sheldon Mirowitz takes very seriously. A professor in the Berklee College of Music’s Film Scoring Department, he teaches a coveted class in which he leads a small group in creating a commissioned score for an iconic film from the silent era. The Berklee Silent Film Orchestra (BSFO) makes its West Coast debut Friday, May 29 at the Castro Theatre as part of the 20th annual \u003cstrong>\u003ca href=\"http://www.silentfilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/strong>, performing a recently premiered original score to F.W. Murnau’s 1924 masterpiece \u003cem>The Last Laugh\u003c/em>.\u003c/p>\n\u003cp>“This is our coming out party to the silent film community,” says Mirowitz, a long-time professor in the world’s only undergraduate degree program in film scoring. “It’s a wonderful movie. The main thing for me is that I want to do something that will help make it accessible so people can experience it the way it’s supposed to be. I don’t want to make this a concert with the film playing in the background. The film is already a masterpiece, and our score is going to make it even cooler.”\u003c/p>\n\u003cfigure id=\"attachment_10698145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10698145 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg\" alt=\"The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau's <i>The Last Laugh</i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau’s \u003ci>The Last Laugh\u003c/i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Last Laugh\u003c/em> stars the brilliant Swiss-born German/Austrian actor Emil Jannings, whose life trajectory in some ways echoes the fate of the film’s protagonist. A major star best known for his collaborations with Murnau and Josef von Sternberg, Jannings won the first Academy Award for best actor in 1927-28. Like so many silent era peers, the advent of sound ended his rise in Hollywood, but he thrived back in Europe, starring in classics like \u003cem>The Blue Angel\u003c/em> with Marlene Dietrich. But his willingness to work extensively with the Nazi regime meant he was barred from film after the war, and he died in obscurity in 1950.\u003c/p>\n\u003cp>Widely considered his greatest role, his chief porter in \u003cem>The Last Laugh\u003c/em> works in a luxurious hotel. The respect and dignity of his position evaporates when he’s demoted to restroom attendant, and the film explores his efforts to hide his humiliation from his family. For Friday’s screening, the Berklee Silent Film Orchestra performs their score to a new, \u003ca href=\"http://en.wikipedia.org/wiki/Digital_Cinema_Package\" target=\"_blank\" rel=\"noopener\">high-definition DCP print\u003c/a> of the film never previously seen in the U.S., obtained by the festival from the Friedrich Wilhelm Murnau Foundation.\u003c/p>\n\u003cp>With every member of Mirowitz’s class taking turns conducting and sometimes playing, each BSFO performance requires intricate choreography. The ensemble’s instrumentation features strings, woodwinds and brass.\u003c/p>\n\u003cfigure id=\"attachment_10698149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg\" alt=\"Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Allen Staats)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Staats)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past five years, Mirowitz and his classes have scored nine classic silent features, including Sergei Eisenstein’s \u003cem>Battleship Potemkin\u003c/em>, Ewald André Dupont’s \u003cem>Piccadilly\u003c/em>, Murnau’s \u003cem>Faust\u003c/em>, Harold Lloyd’s \u003cem>Safety Last\u003c/em> and Rupert Julian’s \u003cem>Phantom of the Opera\u003c/em>, which were all commissioned by the Coolidge Corner Theatre in Brookline, Mass., as part of the theater’s \u003cstrong>\u003ca href=\"http://www.coolidge.org/programs/sounds-of-silents\" target=\"_blank\" rel=\"noopener\">Sounds of Silents\u003c/a>\u003c/strong> program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rather than treating the films as historical documents, Mirowitz approaches the movies as works of art with a vocabulary that’s largely unfamiliar to contemporary audiences. The job of the score is “to make the story come more alive,” he says. “We get to make it new.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keeping It Real at the East Bay's Los Cenzontles Academy",
"headTitle": "Keeping It Real at the East Bay’s Los Cenzontles Academy | KQED",
"content": "\u003cp>Eugene Rodriguez didn’t start out with any grand plans. Clutching a newly minted degree from the San Francisco Conservatory of Music, the guitarist figured he could do some good by teaching Mexican-American kids in the Richmond area about their cultural roots via mariachi, fandangos and Caribbean-inflected son jarocho.\u003c/p>\n\u003cp>A quarter century later, the institution he founded and directs, Los Cenzontles Cultural Arts Academy, is a creative powerhouse with international reach. The organization \u003ca href=\"http://www.loscenzontles.com/band/tour\" target=\"_blank\" rel=\"noopener\">celebrates its 25th anniversary Saturday, May 30\u003c/a>, with a family barbecue benefit featuring dance, raffles, a silent auction and a performance by the Los Cenzontles ensemble with Los Lobos guitarist David Hidalgo (one of many high-profile musical supporters who have collaborated with Los Cenzontles over the years).\u003c/p>\n\u003cp>Demographics and conditions in west Contra Costa County have changed since Rodriguez laid the foundation for Los Cenzontles (which means “the mockingbirds” in the indigenous language Nahautl), but he feels that the original mission is more crucial than ever. The first wave of kids who came into his orbit in the late 1980s were working class Mexican-Americans who grew up speaking English, “and then we had an immigration boom, and we dealt with that in real time, looking at the deeper functions of culture and tradition,” he says.\u003c/p>\n\u003cp>In many ways, Los Cenzontles was baptized in crisis. The organization traces its roots back to a 1989 California Arts Council artist-in-residency grant. In the early ’90s a crime wave that took the lives of several Richmond teenagers lit a fire under Rodriguez, “particularly the rape and murder of a 15-year-old girl Cecy Rios, who was friends with a lot of people at the center,” he recalls. “At the same time I was producing this record for Los Lobos, \u003cem>Papa’s Dream\u003c/em>, and those two events made it clear to me I needed to do more, and that’s why I incorporated the center as a non-profit. It opened the door to more kids and styles of music. Mexican music was becoming more popular with banda, and nobody else was providing vernacular musical training.”\u003c/p>\n\u003cp>So with the storefront cultural center in San Pablo serving as home base, Rodriguez built an arts academy. Many of his original students, who now make up the acclaimed Los Cenzontles ensemble, went on to become teachers at the center. Regular trips to Mexico connected Los Cenzontles to masters of various regional styles, traditions that were in danger of fading away due to neglect at home. A series of documentaries by Mexico City-based director and editor Ricardo Broajos captured the growing bonds between Los Cenzontles and older Mexican musicians, particularly the great Veracruz son jarocho ensemble Mono Blanco in \u003cem>Fandango: Searching For the White Monkey\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10697998\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg\" alt=\"David Hidalgo of Los Lobos\" width=\"456\" height=\"594\" class=\"size-full wp-image-10697998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo-400x521.jpg 400w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">David Hidalgo of Los Lobos, who share a longstanding association with the Academy.\u003c/figcaption>\u003c/figure>\n\u003cp>Back in the U.S., Los Cenzontles has collaborated with a dazzling array of artists, from Linda Ronstadt, Ry Cooder and Taj Mahal to zydeco wizard Andre Thierry and iconic Irish band the Chieftains. But it’s the relationship with Los Lobos that’s proven to be the most enduring. The first collaboration, the aforementioned 1995 children’s album \u003cem>Papa’s Dream\u003c/em>, earned a Grammy nomination. Produced by Rodriguez, the album paired Los Lobos with a children’s chorus from the cultural center and legendary Chicano artist/activist Lalo Guerrero.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Various members of Los Lobos have supported and collaborated with Los Cenzontles ever since, joining forces on a number of albums, including 2012’s \u003cem>Regeneration\u003c/em>. Co-produced by Hidalgo, the album was recorded partly at the cultural center, and features guest artists such as Jackson Browne, Raul Malo and Elvin Bishop. The connection between the great East L.A. band and the East Bay cultural center is undergirded by a shared commitment to communities whose culture is often undervalued and overlooked.\u003c/p>\n\u003cp>“Los Lobos has always been about staying true to who they are,” Rodriguez says. “It’s that commitment to keeping the voice real. And David Hidalgo in particular loves coming up to the Bay Area. He’s got that spiritual affinity for Jerry Garcia. He always wants to jam, and knock down the barriers between genres.”\u003c/p>\n\u003cp>So where does Los Cenzontles go from here? The organization is an exciting new phase, consulting with other community arts groups looking to replicate their model. In much the same that the ensemble is largely built upon former students who grew up at the cultural center, Los Cenzontles has a small but savvy corps who know how powerful it can be to turn a community on to its cultural patrimony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rodriguez isn’t resting on his laurels, but he is taking a minute to “look back on what we’ve done with a lot of pride,” he says. “We’ve involved so many families and kids and artists. We’ve acquired all this knowledge and created this model. It’s not an anonymous community conservatory. The place has been a second home for working class Mexican-American families, people who don’t necessarily feel comfortable in other places. They are the hosts and core leaders of this center, which is now renowned nationally.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eugene Rodriguez didn’t start out with any grand plans. Clutching a newly minted degree from the San Francisco Conservatory of Music, the guitarist figured he could do some good by teaching Mexican-American kids in the Richmond area about their cultural roots via mariachi, fandangos and Caribbean-inflected son jarocho.\u003c/p>\n\u003cp>A quarter century later, the institution he founded and directs, Los Cenzontles Cultural Arts Academy, is a creative powerhouse with international reach. The organization \u003ca href=\"http://www.loscenzontles.com/band/tour\" target=\"_blank\" rel=\"noopener\">celebrates its 25th anniversary Saturday, May 30\u003c/a>, with a family barbecue benefit featuring dance, raffles, a silent auction and a performance by the Los Cenzontles ensemble with Los Lobos guitarist David Hidalgo (one of many high-profile musical supporters who have collaborated with Los Cenzontles over the years).\u003c/p>\n\u003cp>Demographics and conditions in west Contra Costa County have changed since Rodriguez laid the foundation for Los Cenzontles (which means “the mockingbirds” in the indigenous language Nahautl), but he feels that the original mission is more crucial than ever. The first wave of kids who came into his orbit in the late 1980s were working class Mexican-Americans who grew up speaking English, “and then we had an immigration boom, and we dealt with that in real time, looking at the deeper functions of culture and tradition,” he says.\u003c/p>\n\u003cp>In many ways, Los Cenzontles was baptized in crisis. The organization traces its roots back to a 1989 California Arts Council artist-in-residency grant. In the early ’90s a crime wave that took the lives of several Richmond teenagers lit a fire under Rodriguez, “particularly the rape and murder of a 15-year-old girl Cecy Rios, who was friends with a lot of people at the center,” he recalls. “At the same time I was producing this record for Los Lobos, \u003cem>Papa’s Dream\u003c/em>, and those two events made it clear to me I needed to do more, and that’s why I incorporated the center as a non-profit. It opened the door to more kids and styles of music. Mexican music was becoming more popular with banda, and nobody else was providing vernacular musical training.”\u003c/p>\n\u003cp>So with the storefront cultural center in San Pablo serving as home base, Rodriguez built an arts academy. Many of his original students, who now make up the acclaimed Los Cenzontles ensemble, went on to become teachers at the center. Regular trips to Mexico connected Los Cenzontles to masters of various regional styles, traditions that were in danger of fading away due to neglect at home. A series of documentaries by Mexico City-based director and editor Ricardo Broajos captured the growing bonds between Los Cenzontles and older Mexican musicians, particularly the great Veracruz son jarocho ensemble Mono Blanco in \u003cem>Fandango: Searching For the White Monkey\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10697998\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg\" alt=\"David Hidalgo of Los Lobos\" width=\"456\" height=\"594\" class=\"size-full wp-image-10697998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo-400x521.jpg 400w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">David Hidalgo of Los Lobos, who share a longstanding association with the Academy.\u003c/figcaption>\u003c/figure>\n\u003cp>Back in the U.S., Los Cenzontles has collaborated with a dazzling array of artists, from Linda Ronstadt, Ry Cooder and Taj Mahal to zydeco wizard Andre Thierry and iconic Irish band the Chieftains. But it’s the relationship with Los Lobos that’s proven to be the most enduring. The first collaboration, the aforementioned 1995 children’s album \u003cem>Papa’s Dream\u003c/em>, earned a Grammy nomination. Produced by Rodriguez, the album paired Los Lobos with a children’s chorus from the cultural center and legendary Chicano artist/activist Lalo Guerrero.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Various members of Los Lobos have supported and collaborated with Los Cenzontles ever since, joining forces on a number of albums, including 2012’s \u003cem>Regeneration\u003c/em>. Co-produced by Hidalgo, the album was recorded partly at the cultural center, and features guest artists such as Jackson Browne, Raul Malo and Elvin Bishop. The connection between the great East L.A. band and the East Bay cultural center is undergirded by a shared commitment to communities whose culture is often undervalued and overlooked.\u003c/p>\n\u003cp>“Los Lobos has always been about staying true to who they are,” Rodriguez says. “It’s that commitment to keeping the voice real. And David Hidalgo in particular loves coming up to the Bay Area. He’s got that spiritual affinity for Jerry Garcia. He always wants to jam, and knock down the barriers between genres.”\u003c/p>\n\u003cp>So where does Los Cenzontles go from here? The organization is an exciting new phase, consulting with other community arts groups looking to replicate their model. In much the same that the ensemble is largely built upon former students who grew up at the cultural center, Los Cenzontles has a small but savvy corps who know how powerful it can be to turn a community on to its cultural patrimony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rodriguez isn’t resting on his laurels, but he is taking a minute to “look back on what we’ve done with a lot of pride,” he says. “We’ve involved so many families and kids and artists. We’ve acquired all this knowledge and created this model. It’s not an anonymous community conservatory. The place has been a second home for working class Mexican-American families, people who don’t necessarily feel comfortable in other places. They are the hosts and core leaders of this center, which is now renowned nationally.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Becca Stevens Unleashes Her 'Perfect Animal'",
"headTitle": "Becca Stevens Unleashes Her ‘Perfect Animal’ | 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/maggie-nelson/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Becca Stevens\u003c/h2>\n\u003cdiv class=\"event-desc\">Two shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Kuumbwa Jazz\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://kuumbwajazz.org/calendar/becca-stevens-band/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 2, 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/becca-stevens-perfect-animal/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Singer/songwriter Becca Stevens possesses an enviably talent-laden fan club. Jazz vocal peers like Kate McGarry, Gretchen Parlato and Kurt Elling have publicly hailed her as one of the most original young singers on the scene, and heavyweight players like Brad Mehldau, Esperanza Spalding, Ambrose Akinmusire and Eric Harland have recruited her for projects and recordings. Whatever context she’s working in, Stevens makes a vivid and enduring impression with her rhythmically charged guitar work and translucent sound.\u003c/p>\n\u003cp>Now, the 29-year-old New Yorker is about to break out as a bandleader in her own right. She celebrates the release of her gorgeous new album \u003cem>Perfect Animal\u003c/em> at Santa Cruz’s Kuumbwa Jazz Center on May 28 and Berkeley’s Freight & Salvage on June 2.\u003c/p>\n\u003cp>With a rock-inflected sensibility informed as much by American folk music and Björk as Billie Holiday, the album features her longtime collaborators, keyboardist/accordionist Liam Robinson, bassist Chris Tordini, and drummer/percussionist Jordan Perlson. Stevens has been performing with the three for years, but in some circles she’s still best known for her work as lead singer in saxophonist Travis Sullivan’s Björkestra, a big band she connected with as an undergrad at the New School. A self-described Björk obsessive, she approached Sullivan after a performance to offer her vocal services as a sub. When the chair opened up, she took over the role and made it her own, performing on the band’s 2008 album \u003cem>Enjoy!\u003c/em> (Koch). And though there’s an unmistakable Björkian current running through some of her serpentine melodic lines, Stevens embraces folk, alt-pop, postbop and European classical music as a birthright.\u003c/p>\n\u003cp>https://youtu.be/WkTGIM-SYxU\u003c/p>\n\u003cp>Growing up in Winston-Salem, she started performing with her family’s band the Tune Mammals at the age of two. Led by her father, a composer specializing in sacred choral music, the group performed his playfully folky original songs for children. Her mother, Carolyn Dorff, is an operatically trained singer with extensive experience in musical theater. At 10, Stevens starred with her in a yearlong Broadway touring production of \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’s been creating her own magical musical world ever since — a realm in which \u003cem>Perfect Animal\u003c/em> is just the latest strange and beautiful arrival.\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/maggie-nelson/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Becca Stevens\u003c/h2>\n\u003cdiv class=\"event-desc\">Two shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Kuumbwa Jazz\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://kuumbwajazz.org/calendar/becca-stevens-band/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 2, 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/becca-stevens-perfect-animal/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Singer/songwriter Becca Stevens possesses an enviably talent-laden fan club. Jazz vocal peers like Kate McGarry, Gretchen Parlato and Kurt Elling have publicly hailed her as one of the most original young singers on the scene, and heavyweight players like Brad Mehldau, Esperanza Spalding, Ambrose Akinmusire and Eric Harland have recruited her for projects and recordings. Whatever context she’s working in, Stevens makes a vivid and enduring impression with her rhythmically charged guitar work and translucent sound.\u003c/p>\n\u003cp>Now, the 29-year-old New Yorker is about to break out as a bandleader in her own right. She celebrates the release of her gorgeous new album \u003cem>Perfect Animal\u003c/em> at Santa Cruz’s Kuumbwa Jazz Center on May 28 and Berkeley’s Freight & Salvage on June 2.\u003c/p>\n\u003cp>With a rock-inflected sensibility informed as much by American folk music and Björk as Billie Holiday, the album features her longtime collaborators, keyboardist/accordionist Liam Robinson, bassist Chris Tordini, and drummer/percussionist Jordan Perlson. Stevens has been performing with the three for years, but in some circles she’s still best known for her work as lead singer in saxophonist Travis Sullivan’s Björkestra, a big band she connected with as an undergrad at the New School. A self-described Björk obsessive, she approached Sullivan after a performance to offer her vocal services as a sub. When the chair opened up, she took over the role and made it her own, performing on the band’s 2008 album \u003cem>Enjoy!\u003c/em> (Koch). And though there’s an unmistakable Björkian current running through some of her serpentine melodic lines, Stevens embraces folk, alt-pop, postbop and European classical music as a birthright.\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/WkTGIM-SYxU'\n title='//www.youtube.com/embed/WkTGIM-SYxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Growing up in Winston-Salem, she started performing with her family’s band the Tune Mammals at the age of two. Led by her father, a composer specializing in sacred choral music, the group performed his playfully folky original songs for children. Her mother, Carolyn Dorff, is an operatically trained singer with extensive experience in musical theater. At 10, Stevens starred with her in a yearlong Broadway touring production of \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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