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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/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Hadestown’\u003c/h2>\n\u003cdiv class=\"event-desc\">Anaïs Mitchell’s mythology-inspired folk opera.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When singer/songwriter Anaïs Mitchell released her folk opera \u003cem>Hadestown\u003c/em> in 2009, the vivid reimagining of the Greek myth of the doomed lovers Orpheus and Eurydice clearly seemed inspired by the nation’s economic crisis.\u003c/p>\n\u003cp>Set in a Depression-era company town painted in the stark colors of a hard-boiled Dashiel Hammett dystopia, the album brought together an immoderately talented multi-generational cast of singers and instrumentalists, including Greg Brown (Hades), Ani DiFranco (Persephone), Bon Iver’s Justin Vernon (Orpheus), and Petra, Rachel and Tanya Haden (the Fates). But Mitchell, who sang the role of Eurydice, says that the project was born long before the bursting housing bubble almost toppled the global financial system.\u003c/p>\n\u003cp>In fact, it was George W. Bush’s reelection in 2004 and Mitchell’s wavering faith in the power of writing politically topical songs that set her on a path toward Greek mythology. The underworld, it turned out, was an ideal forum for unleashing her vision of a curdling American dream.\u003c/p>\n\u003cp>“Hades was a way to write about those things in an archetypical way, rather than tied to specific events,” says Mitchell, 34. “When the album was coming out and the recession hit, themes of poverty and desperation really came to the fore. Now we’re on the road to recovery and other parts of the music and imagery feel a little more relevant. It’s an ancient myth that continues to resonate in so many ways.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk&w=640&h=360]\u003c/p>\n\u003cp>Mitchell presents a newly expanded version of the song cycle at Berkeley’s Freight & Salvage on June 28, working with album’s two key collaborators: arranger Michael Chorney, who plays acoustic guitar and prepared guitar, and bassist Todd Sickafoose, who produced the album and her acclaimed 2012 followup \u003cem>Young Man In America\u003c/em> (Wilderland Records). They’re joined by a stellar ensemble including violinist/vocalist Jenny Scheinman, cellist/vocalist Markia Hughes, trumpeter/vocalist Darren Johnston, accordionist Rob Reich, and drummer Eric Garland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several years before recording the album, Mitchell presented \u003cem>Hadestown\u003c/em> in Vermont as a traveling theatrical production with a \u003ca href=\"http://breadandpuppet.org/\" target=\"_blank\" rel=\"noopener\">Bread & Puppet Theater\u003c/a> aesthetic, with Chorney on hand. With virtually no funding or institutional support, they toured around New England twice over the course of two years.\u003c/p>\n\u003cp>“The album was a third draft of a thing that began in a DIY theatrical way, with myself and Michael and a band playing his arrangements,” Mitchell says. “We’d go to a particular town or state and recruit friends and strangers from the music community to sing the roles. We thought of it as a radio novella. I always wanted to see it go back to the theater, because of what can happen working with real actors.”\u003c/p>\n\u003cfigure id=\"attachment_10796912\" class=\"wp-caption alignright\" style=\"max-width: 295px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AnaisMitchellPolaroid2.jpg\" alt=\"Anaïs Mitchell \" width=\"295\" height=\"360\" class=\"size-full wp-image-10796912\">\u003cfigcaption class=\"wp-caption-text\">Anaïs Mitchell.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s remarkable about the album is the way it evokes the piece’s theatricality, the sense of drama being played out in a physical space, rather than unfolding simply as a collection of songs connected by a narrative. Before he produced the album, Sickafoose joined Mitchell’s cast on the road, “and it was really instructive to be part of the theatricality of it from the beginning,” says Sickafoose (who performs with his own band Tiny Resistors on June 26 at the Red Poppy Art House).\u003c/p>\n\u003cp>“We tried to make the record have that feeling, having different people singing all the roles, and making sure there was space in the music so it didn’t just go one line to the next, one song to the next, setting scenes and including the kind of transitions you feel like you’re seeing. ‘Folk opera’ is a beautiful term. It feels like a good cloak to put on and say ‘this is what it is,’ and move around inside of that. It’s the first genre name I’ve ever liked.”\u003c/p>\n\u003cp>Mitchell got a chance to revisit the piece’s theatrical roots earlier this year via \u003ca href=\"http://newyorktheatreworkshop.org/\" target=\"_blank\" rel=\"noopener\">New York Theater Workshop\u003c/a>, the organization that first presented \u003cem>Rent\u003c/em> and \u003cem>Once\u003c/em>. Sunday’s matinee is another step in that process, as \u003ca href=\"http://www.berkeleyrep.org/groundfloor/\" target=\"_blank\" rel=\"noopener\">The Ground Floor\u003c/a>, Berkeley Rep’s center for the creation and development of new work, selected \u003cem>Hadestown\u003c/em> as one of 14 projects in its fourth Summer Residency Lab.\u003c/p>\n\u003cp>The Berkeley Rep has a long history of productions involving music, from Green Day’s \u003cem>American Idiot\u003c/em> to Stew and Heidi Rodewald’s \u003cem>Passing Strange\u003c/em>, and \u003cem>Hadestown \u003c/em>seemed ripe for a workshop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We like things that seep across boundaries,” says Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor. “Anaïs’s work is perfect that way. She’s taking music and testing the waters of theater. She’s a multi-threat composer, songwriter, and lyricist with an inherently theatrical quality.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several years before recording the album, Mitchell presented \u003cem>Hadestown\u003c/em> in Vermont as a traveling theatrical production with a \u003ca href=\"http://breadandpuppet.org/\" target=\"_blank\" rel=\"noopener\">Bread & Puppet Theater\u003c/a> aesthetic, with Chorney on hand. With virtually no funding or institutional support, they toured around New England twice over the course of two years.\u003c/p>\n\u003cp>“The album was a third draft of a thing that began in a DIY theatrical way, with myself and Michael and a band playing his arrangements,” Mitchell says. “We’d go to a particular town or state and recruit friends and strangers from the music community to sing the roles. We thought of it as a radio novella. I always wanted to see it go back to the theater, because of what can happen working with real actors.”\u003c/p>\n\u003cfigure id=\"attachment_10796912\" class=\"wp-caption alignright\" style=\"max-width: 295px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AnaisMitchellPolaroid2.jpg\" alt=\"Anaïs Mitchell \" width=\"295\" height=\"360\" class=\"size-full wp-image-10796912\">\u003cfigcaption class=\"wp-caption-text\">Anaïs Mitchell.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s remarkable about the album is the way it evokes the piece’s theatricality, the sense of drama being played out in a physical space, rather than unfolding simply as a collection of songs connected by a narrative. Before he produced the album, Sickafoose joined Mitchell’s cast on the road, “and it was really instructive to be part of the theatricality of it from the beginning,” says Sickafoose (who performs with his own band Tiny Resistors on June 26 at the Red Poppy Art House).\u003c/p>\n\u003cp>“We tried to make the record have that feeling, having different people singing all the roles, and making sure there was space in the music so it didn’t just go one line to the next, one song to the next, setting scenes and including the kind of transitions you feel like you’re seeing. ‘Folk opera’ is a beautiful term. It feels like a good cloak to put on and say ‘this is what it is,’ and move around inside of that. It’s the first genre name I’ve ever liked.”\u003c/p>\n\u003cp>Mitchell got a chance to revisit the piece’s theatrical roots earlier this year via \u003ca href=\"http://newyorktheatreworkshop.org/\" target=\"_blank\" rel=\"noopener\">New York Theater Workshop\u003c/a>, the organization that first presented \u003cem>Rent\u003c/em> and \u003cem>Once\u003c/em>. Sunday’s matinee is another step in that process, as \u003ca href=\"http://www.berkeleyrep.org/groundfloor/\" target=\"_blank\" rel=\"noopener\">The Ground Floor\u003c/a>, Berkeley Rep’s center for the creation and development of new work, selected \u003cem>Hadestown\u003c/em> as one of 14 projects in its fourth Summer Residency Lab.\u003c/p>\n\u003cp>The Berkeley Rep has a long history of productions involving music, from Green Day’s \u003cem>American Idiot\u003c/em> to Stew and Heidi Rodewald’s \u003cem>Passing Strange\u003c/em>, and \u003cem>Hadestown \u003c/em>seemed ripe for a workshop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We like things that seep across boundaries,” says Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor. “Anaïs’s work is perfect that way. She’s taking music and testing the waters of theater. She’s a multi-threat composer, songwriter, and lyricist with an inherently theatrical quality.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's Your Stoner's Guide to Great America",
"headTitle": "Here’s Your Stoner’s Guide to Great America | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>This article originally published in 2015\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>This weekend, the surviving members of the Grateful Dead celebrate the band’s 50th anniversary with a \u003ca href=\"http://www.levisstadium.com/events/event/grateful-dead/\" target=\"_blank\" rel=\"noopener noreferrer\">pair of shows\u003c/a> at Levi’s Stadium in Santa Clara. And though the concert itself should provide more than a few trips down amnesia lane, everyone knows where the real action is at a Dead show: out in the parking lot. \u003c/p>\n\u003cp>Funny thing about Levi’s Stadium—it shares a parking lot with \u003ca href=\"https://www.cagreatamerica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a>, the amusement park currently celebrating its own milestone anniversary of 40 years. And it just so happens that it will be open all day during the Grateful Dead shows and “fully staffed,” according to a park employee.\u003c/p>\n\u003cp>“We’re expecting a huge crowd,” attested the employee, who asked not to be named. “It’s going to be crazy.”\u003c/p>\n\u003cp>The Dead’s fan base is an adventurous bunch. Deadheads also, generally and historically, like to maintain \u003cem>a certain state of mind\u003c/em>. And though there are plenty of leisurely rides at Great America to enhance the stoned experience, there are also a few guaranteed vibe-killers in the park from which to steer clear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I recently spent a day at Great America with Cassie, a 28-year-old who showed up for the occasion in a vintage \u003ca href=\"https://s-media-cache-ak0.pinimg.com/236x/1e/91/c4/1e91c4199e10c48c89ee81e84f3a0c43.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Mouse/Kelley Grateful Dead T-shirt\u003c/a>. On the way there, we listened to the Dead’s set from \u003ca href=\"https://archive.org/details/gd73-06-10.sbd.hollister.174.sbeok.shnf\" target=\"_blank\" rel=\"noopener noreferrer\">6/10/1973 at RFK Stadium\u003c/a>, and talked about her seasonal trimming job in Humboldt County while looking up the smoking sections scattered around the park. In other words: she proved a perfect test subject for the typical stoner experience at Great America.\u003c/p>\n\u003cp>So here, Deadheads, without further ado, is your guide to 10 rides at Great America, each of them tested by a very stoned fan and rated on a scale of one to five Dancing Bears.\u003c/p>\n\u003cfigure id=\"attachment_10794270\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADeltaFlyer.jpg\" alt=\"Delta Flyer.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delta Flyer.\u003c/figcaption>\u003c/figure>\n\u003ch3>Delta Flyer\u003c/h3>\n\u003cp>There’s no better way to see Great America than high in the air, and for those who didn’t grow up in the Bay Area going to the park every summer, the Delta Flyer is a smooth tram ride that offers a good introduction to the lay of the land. Hum a little bit of “Catfish John” (“Walking in his footsteps in the Sweet Delta Dawn”) and map out your day. Said Cassie, de-boarding the gondola: “It was fun to start the day off like that.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794271\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAPsychoMouse.jpg\" alt=\"Psycho Mouse.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Psycho Mouse.\u003c/figcaption>\u003c/figure>\n\u003ch3>Psycho Mouse\u003c/h3>\n\u003cp>“This is a very aesthetically pleasing ride,” said Cassie, waiting in line and staring into the roller coaster’s mouse-themed design. But the ride, similar to Goofy’s Sky School at Disney’s California Adventure, was decidedly un-mellow. “It was kind of aggressive, and jarring,” said Cassie, after being jolted back and forth on the Psycho Mouse’s sharp turns, high above the Earth. “But come on, look at that mouse! He’s so cute!”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794272\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGrizzly.jpg\" alt=\"The Grizzly.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Grizzly.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grizzly\u003c/h3>\n\u003cp>Built in 1986, the Grizzly was Great America’s first all-wooden roller coaster, giving it an organic feel and a beach-boardwalk look. For those who like to zone out on how things are made, the ride’s complex construction opens up the imagination to questions of design and engineering, and indeed, Cassie lingered an extra minute examining the interlocking wooden pilings before climbing aboard. This one was a winner: “It wasn’t scary at all,” Cassie said. “It was just fun, and not horrifying, and I like the sound it makes.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794273\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GABarneyOldfield.jpg\" alt=\"Barney Oldfield Speedway.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barney Oldfield Speedway.\u003c/figcaption>\u003c/figure>\n\u003ch3>Barney Oldfield Speedway\u003c/h3>\n\u003cp>Your basic, anyone-can-drive-a-car attraction, complete with superfluous steering wheel and lazy pace. In addition to its close-up views of the Grizzly, this ride also happened to provide the best employee-watching of the day. “\u003ca href=\"https://www.youtube.com/watch?v=_nOpJMQ3-VE\" target=\"_blank\" rel=\"noopener noreferrer\">New Speedway Boogie\u003c/a>” would’ve made a good soundtrack to this ride, except as Cassie noted, “I don’t think ‘speed’ is really an issue.” The cars drive slowly, and the boarding area is filled with constant, noxious exhaust — not the type of fumes a Deadhead wants to inhale.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794274\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADemon.jpg\" alt=\"The Demon.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Demon.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Demon\u003c/h3>\n\u003cp>The grand old dame of Great America’s roller coasters, the Demon is now 35 years old, its double-loop and double-corkscrew the same as when it opened in 1980. I’d guessed it would be too harsh for Cassie, but afterward, her flushed face told a different story. “That was incredible! It almost makes me want to lower the scores of all the other rides, it was so great!” she said. The ride is angular and unpredictable, the thrill-ride equivalent of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-shape-of-jazz-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">Ornette Coleman playing with the dead at the Oakland Coliseum\u003c/a>, but ultimately satisfying. “This one had the fear,” Cassie said, “but I \u003cem>liked\u003c/em> it.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794275\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GARapids.jpg\" alt=\"The Rapids.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Rapids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Logger’s Run\u003c/h3>\n\u003cp>You’ll want to cool down with some \u003ca href=\"https://www.youtube.com/watch?v=671AgW9xSiA\" target=\"_blank\" rel=\"noopener noreferrer\">ripples in still water\u003c/a>, and Great America has an entire waterpark called Boomerang Bay, if you bring your swimsuit. We didn’t, so we confined ourselves to the water rides. Whitewater Falls was exhilarating, but short; the Rapids (pictured) were only slightly rapid, and too tame. Also, both aforementioned rides allow random spectators to shoot water at you from a cannon, which is a serious bummer. The winner of the three was Logger’s Run, which lifts high above the park and rushes down in a thrilling descent. And you can’t argue with Cassie’s logic: “I like that you’re inside of a log.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794276\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGoldStriker.jpg\" alt=\"Gold Striker.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gold Striker.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gold Striker\u003c/h3>\n\u003cp>This gigantic wooden roller coaster is like \u003ca href=\"http://www.discogs.com/Grateful-Dead-Dark-Star/release/3549571\" target=\"_blank\" rel=\"noopener noreferrer\">“Dark Star” from \u003cem>Europe ’72\u003c/em>\u003c/a> played at 78 rpm: it’s long, it’s fast, and the twists and turns are wild and unpredictable. Gold Striker was also Cassie’s favorite ride of the day, owing to its height (108 ft.), speed (54 mph), and nonstop thrill factor. “It just doesn’t let up!” she said afterward, smiling and out of breath. We rode it twice and it was insane both times, from the initial drop through the tunnel to the \u003ca href=\"http://www.azlyrics.com/lyrics/gratefuldead/andwebidyougoodnight.html\" target=\"_blank\" rel=\"noopener noreferrer\">beast at the ending of the wood\u003c/a>. One word of advice from Cassie, though: “It definitely takes your stomach to the breaking point,” she says. “Don’t go on it after eating curly fries.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAHMBEndeavor.jpg\" alt=\"H.M.B. Endeavor.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">H.M.B. Endeavor.\u003c/figcaption>\u003c/figure>\n\u003ch3>H.M.B. Endeavor\u003c/h3>\n\u003cp>So, this was a bad idea. The H.M.B. Endeavor is a classic county-fair pirate ship ride, except that instead of simply swinging back and forth, it actually goes all the way upside down. And. Just. Stays. There. After hanging upside down for five or six seconds, there’s a huge rush of blood to your head, and not the good kind. Nauseous afterward, Cassie reported: “I felt freaked out on it, to be honest. I was \u003cem>very\u003c/em> aware of this tiny shoulder harness being the only thing keeping me from imminent death.” Stay away, Deadheads.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794285\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAVortex.jpg\" alt=\"The Vortex.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Vortex.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Vortex\u003c/h3>\n\u003cp>An upside-down ride whose schtick is that riders stand up instead of sit down, the Vortex is little more than a gimmick. It felt punishing. “I have a serious case of sea legs,” said Cassie afterward, “and a headache.” However, the ride’s rating was bumped higher by the fact that Cassie saw a Nirvana video playing on the “Fun TV” screen in line. Go figure.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794286\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAColumbia.jpg\" alt=\"Carousel Columbia.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carousel Columbia.\u003c/figcaption>\u003c/figure>\n\u003ch3>Carousel Columbia\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After a long day, there’s no better way to bid goodnight to the park than a ride on this, the tallest carousel in the western United States. We climbed aboard the upper deck, hopped on some horses, and \u003ca href=\"https://www.youtube.com/watch?v=1PU-Fuu6T4A\" target=\"_blank\" rel=\"noopener noreferrer\">turned on our love light\u003c/a> for a nostalgic spin to childlike innocence. With the twirling nature of the ride and the noodling organ music, there’s probably no finer way to chill out before a Grateful Dead show.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\n",
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"excerpt": "As the Grateful Dead gears up for two shows across from from Great America this weekend, here's your stoner's guide to the amusement park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This article originally published in 2015\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>This weekend, the surviving members of the Grateful Dead celebrate the band’s 50th anniversary with a \u003ca href=\"http://www.levisstadium.com/events/event/grateful-dead/\" target=\"_blank\" rel=\"noopener noreferrer\">pair of shows\u003c/a> at Levi’s Stadium in Santa Clara. And though the concert itself should provide more than a few trips down amnesia lane, everyone knows where the real action is at a Dead show: out in the parking lot. \u003c/p>\n\u003cp>Funny thing about Levi’s Stadium—it shares a parking lot with \u003ca href=\"https://www.cagreatamerica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a>, the amusement park currently celebrating its own milestone anniversary of 40 years. And it just so happens that it will be open all day during the Grateful Dead shows and “fully staffed,” according to a park employee.\u003c/p>\n\u003cp>“We’re expecting a huge crowd,” attested the employee, who asked not to be named. “It’s going to be crazy.”\u003c/p>\n\u003cp>The Dead’s fan base is an adventurous bunch. Deadheads also, generally and historically, like to maintain \u003cem>a certain state of mind\u003c/em>. And though there are plenty of leisurely rides at Great America to enhance the stoned experience, there are also a few guaranteed vibe-killers in the park from which to steer clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I recently spent a day at Great America with Cassie, a 28-year-old who showed up for the occasion in a vintage \u003ca href=\"https://s-media-cache-ak0.pinimg.com/236x/1e/91/c4/1e91c4199e10c48c89ee81e84f3a0c43.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Mouse/Kelley Grateful Dead T-shirt\u003c/a>. On the way there, we listened to the Dead’s set from \u003ca href=\"https://archive.org/details/gd73-06-10.sbd.hollister.174.sbeok.shnf\" target=\"_blank\" rel=\"noopener noreferrer\">6/10/1973 at RFK Stadium\u003c/a>, and talked about her seasonal trimming job in Humboldt County while looking up the smoking sections scattered around the park. In other words: she proved a perfect test subject for the typical stoner experience at Great America.\u003c/p>\n\u003cp>So here, Deadheads, without further ado, is your guide to 10 rides at Great America, each of them tested by a very stoned fan and rated on a scale of one to five Dancing Bears.\u003c/p>\n\u003cfigure id=\"attachment_10794270\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADeltaFlyer.jpg\" alt=\"Delta Flyer.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADeltaFlyer-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delta Flyer.\u003c/figcaption>\u003c/figure>\n\u003ch3>Delta Flyer\u003c/h3>\n\u003cp>There’s no better way to see Great America than high in the air, and for those who didn’t grow up in the Bay Area going to the park every summer, the Delta Flyer is a smooth tram ride that offers a good introduction to the lay of the land. Hum a little bit of “Catfish John” (“Walking in his footsteps in the Sweet Delta Dawn”) and map out your day. Said Cassie, de-boarding the gondola: “It was fun to start the day off like that.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794271\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAPsychoMouse.jpg\" alt=\"Psycho Mouse.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAPsychoMouse-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Psycho Mouse.\u003c/figcaption>\u003c/figure>\n\u003ch3>Psycho Mouse\u003c/h3>\n\u003cp>“This is a very aesthetically pleasing ride,” said Cassie, waiting in line and staring into the roller coaster’s mouse-themed design. But the ride, similar to Goofy’s Sky School at Disney’s California Adventure, was decidedly un-mellow. “It was kind of aggressive, and jarring,” said Cassie, after being jolted back and forth on the Psycho Mouse’s sharp turns, high above the Earth. “But come on, look at that mouse! He’s so cute!”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794272\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGrizzly.jpg\" alt=\"The Grizzly.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGrizzly-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Grizzly.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grizzly\u003c/h3>\n\u003cp>Built in 1986, the Grizzly was Great America’s first all-wooden roller coaster, giving it an organic feel and a beach-boardwalk look. For those who like to zone out on how things are made, the ride’s complex construction opens up the imagination to questions of design and engineering, and indeed, Cassie lingered an extra minute examining the interlocking wooden pilings before climbing aboard. This one was a winner: “It wasn’t scary at all,” Cassie said. “It was just fun, and not horrifying, and I like the sound it makes.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794273\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GABarneyOldfield.jpg\" alt=\"Barney Oldfield Speedway.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GABarneyOldfield-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barney Oldfield Speedway.\u003c/figcaption>\u003c/figure>\n\u003ch3>Barney Oldfield Speedway\u003c/h3>\n\u003cp>Your basic, anyone-can-drive-a-car attraction, complete with superfluous steering wheel and lazy pace. In addition to its close-up views of the Grizzly, this ride also happened to provide the best employee-watching of the day. “\u003ca href=\"https://www.youtube.com/watch?v=_nOpJMQ3-VE\" target=\"_blank\" rel=\"noopener noreferrer\">New Speedway Boogie\u003c/a>” would’ve made a good soundtrack to this ride, except as Cassie noted, “I don’t think ‘speed’ is really an issue.” The cars drive slowly, and the boarding area is filled with constant, noxious exhaust — not the type of fumes a Deadhead wants to inhale.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794274\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GADemon.jpg\" alt=\"The Demon.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GADemon-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Demon.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Demon\u003c/h3>\n\u003cp>The grand old dame of Great America’s roller coasters, the Demon is now 35 years old, its double-loop and double-corkscrew the same as when it opened in 1980. I’d guessed it would be too harsh for Cassie, but afterward, her flushed face told a different story. “That was incredible! It almost makes me want to lower the scores of all the other rides, it was so great!” she said. The ride is angular and unpredictable, the thrill-ride equivalent of \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-shape-of-jazz-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">Ornette Coleman playing with the dead at the Oakland Coliseum\u003c/a>, but ultimately satisfying. “This one had the fear,” Cassie said, “but I \u003cem>liked\u003c/em> it.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794275\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GARapids.jpg\" alt=\"The Rapids.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GARapids-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Rapids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Logger’s Run\u003c/h3>\n\u003cp>You’ll want to cool down with some \u003ca href=\"https://www.youtube.com/watch?v=671AgW9xSiA\" target=\"_blank\" rel=\"noopener noreferrer\">ripples in still water\u003c/a>, and Great America has an entire waterpark called Boomerang Bay, if you bring your swimsuit. We didn’t, so we confined ourselves to the water rides. Whitewater Falls was exhilarating, but short; the Rapids (pictured) were only slightly rapid, and too tame. Also, both aforementioned rides allow random spectators to shoot water at you from a cannon, which is a serious bummer. The winner of the three was Logger’s Run, which lifts high above the park and rushes down in a thrilling descent. And you can’t argue with Cassie’s logic: “I like that you’re inside of a log.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB45.jpg\" alt=\"GAB45\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794740\">\u003c/p>\n\u003cfigure id=\"attachment_10794276\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAGoldStriker.jpg\" alt=\"Gold Striker.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAGoldStriker-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gold Striker.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gold Striker\u003c/h3>\n\u003cp>This gigantic wooden roller coaster is like \u003ca href=\"http://www.discogs.com/Grateful-Dead-Dark-Star/release/3549571\" target=\"_blank\" rel=\"noopener noreferrer\">“Dark Star” from \u003cem>Europe ’72\u003c/em>\u003c/a> played at 78 rpm: it’s long, it’s fast, and the twists and turns are wild and unpredictable. Gold Striker was also Cassie’s favorite ride of the day, owing to its height (108 ft.), speed (54 mph), and nonstop thrill factor. “It just doesn’t let up!” she said afterward, smiling and out of breath. We rode it twice and it was insane both times, from the initial drop through the tunnel to the \u003ca href=\"http://www.azlyrics.com/lyrics/gratefuldead/andwebidyougoodnight.html\" target=\"_blank\" rel=\"noopener noreferrer\">beast at the ending of the wood\u003c/a>. One word of advice from Cassie, though: “It definitely takes your stomach to the breaking point,” she says. “Don’t go on it after eating curly fries.”\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\u003cfigure id=\"attachment_10794277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAHMBEndeavor.jpg\" alt=\"H.M.B. Endeavor.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAHMBEndeavor-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">H.M.B. Endeavor.\u003c/figcaption>\u003c/figure>\n\u003ch3>H.M.B. Endeavor\u003c/h3>\n\u003cp>So, this was a bad idea. The H.M.B. Endeavor is a classic county-fair pirate ship ride, except that instead of simply swinging back and forth, it actually goes all the way upside down. And. Just. Stays. There. After hanging upside down for five or six seconds, there’s a huge rush of blood to your head, and not the good kind. Nauseous afterward, Cassie reported: “I felt freaked out on it, to be honest. I was \u003cem>very\u003c/em> aware of this tiny shoulder harness being the only thing keeping me from imminent death.” Stay away, Deadheads.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB21.jpg\" alt=\"GAB2\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794739\">\u003c/p>\n\u003cfigure id=\"attachment_10794285\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAVortex.jpg\" alt=\"The Vortex.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAVortex-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Vortex.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Vortex\u003c/h3>\n\u003cp>An upside-down ride whose schtick is that riders stand up instead of sit down, the Vortex is little more than a gimmick. It felt punishing. “I have a serious case of sea legs,” said Cassie afterward, “and a headache.” However, the ride’s rating was bumped higher by the fact that Cassie saw a Nirvana video playing on the “Fun TV” screen in line. Go figure.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB31.jpg\" alt=\"GAB3\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794741\">\u003c/p>\n\u003cfigure id=\"attachment_10794286\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/GAColumbia.jpg\" alt=\"Carousel Columbia.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10794286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/GAColumbia-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carousel Columbia.\u003c/figcaption>\u003c/figure>\n\u003ch3>Carousel Columbia\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a long day, there’s no better way to bid goodnight to the park than a ride on this, the tallest carousel in the western United States. We climbed aboard the upper deck, hopped on some horses, and \u003ca href=\"https://www.youtube.com/watch?v=1PU-Fuu6T4A\" target=\"_blank\" rel=\"noopener noreferrer\">turned on our love light\u003c/a> for a nostalgic spin to childlike innocence. With the twirling nature of the ride and the noodling organ music, there’s probably no finer way to chill out before a Grateful Dead show.\u003cbr>\n\u003cstrong>Dancing Bear Rating:\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/GAB5.jpg\" alt=\"GAB5\" width=\"400\" height=\"88\" class=\"alignleft size-full wp-image-10794288\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: San Francisco Songs for Summer",
"headTitle": "Mixtape: San Francisco Songs for Summer | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Summer Songs.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Even though San Francisco’s summers get an unfairly bad rap, that doesn’t prevent us locals from enjoying many of the best parts of the season. Days at the beach, barbecues, road trips, street fairs and festivals: sure, you might need to \u003ca href=\"https://www.youtube.com/watch?v=r5LxqjuHktU\">carry a light sweater\u003c/a> on some of your summer excursions, but the long days can’t be beat for outdoor fun.\u003c/p>\n\u003cp>With solstice on the mind, we’ve compiled this mixtape of songs for the season, collecting new and recent releases by San Francisco Bay Area bands that feel like perfect additions to any summer playlist. As one might expect, you’ll hear some beach-ready garage rock and surf-inspired sounds, like those of \u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong>, mixing jangly reverb and big, hooky melodies.\u003c/p>\n\u003cp>That knack for pop carries through a number of the songs here, including a new electronic track from SF/NY band \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong>’ forthcoming album \u003cem>Horizons\u003c/em>, and one from buzzed-about band \u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong>. Two of our favorite local songwriters also make an appearance here. \u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> has a growing cult, likely to expand further with the release of \u003cem>Perpetual Motion People\u003c/em> in July; meanwhile, \u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> recently surprised the world with a new record, \u003cem>Chrissybaby Forever\u003c/em>.\u003c/p>\n\u003cp>At the same time, several offerings are slightly moodier — think, perhaps, music for summer nights. \u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> is another great band from the Death Records universe, and “dream wave” band the \u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">Silhouette Era\u003c/a>\u003c/strong> has the equally reliable Breakup Records seal of approval. Anthony Ferraro has been recording for some time as \u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong>, and his long-overdue debut LP arrives in September.\u003c/p>\n\u003cp>Finally, it wouldn’t be a Bay Area summer mix without including some psychy sounds, with highlights coming from \u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong>. Adams describes his band’s sound as “heavy surf rock,” and the group just unveiled the wild new \u003cem>Black Flamingo\u003c/em> EP. Fine Points is a name you might not be familiar with yet, but the band is led by members of Sleepy Sun, and its debut offering sounds very exciting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the mix, and have great start to your summer!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> – “Photography is Over”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> – “Restless Year”\u003cbr>\n\u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong> – “Singapore Sling”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> – “Wardrobe”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong> – “Eye to Eye”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong> – “Old Conversation”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong> – “Astral Season”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> – “Selfish Feelings”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">The Silhouette Era\u003c/a>\u003c/strong> – “Devotion”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong> – “Disintegrate”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong> – “Bobby Black”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong> – “Black Flamingo”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong> – “Wild”\u003c/p>\n\n",
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"excerpt": "Days at the beach, barbecues, road trips, street fairs and festivals: here's the Bay Bridged's soundtrack to another summer in the Bay Area.",
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"description": "Days at the beach, barbecues, road trips, street fairs and festivals: here's the Bay Bridged's soundtrack to another summer in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco Summer Songs.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_2015_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Even though San Francisco’s summers get an unfairly bad rap, that doesn’t prevent us locals from enjoying many of the best parts of the season. Days at the beach, barbecues, road trips, street fairs and festivals: sure, you might need to \u003ca href=\"https://www.youtube.com/watch?v=r5LxqjuHktU\">carry a light sweater\u003c/a> on some of your summer excursions, but the long days can’t be beat for outdoor fun.\u003c/p>\n\u003cp>With solstice on the mind, we’ve compiled this mixtape of songs for the season, collecting new and recent releases by San Francisco Bay Area bands that feel like perfect additions to any summer playlist. As one might expect, you’ll hear some beach-ready garage rock and surf-inspired sounds, like those of \u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong>, mixing jangly reverb and big, hooky melodies.\u003c/p>\n\u003cp>That knack for pop carries through a number of the songs here, including a new electronic track from SF/NY band \u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong>’ forthcoming album \u003cem>Horizons\u003c/em>, and one from buzzed-about band \u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong>. Two of our favorite local songwriters also make an appearance here. \u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> has a growing cult, likely to expand further with the release of \u003cem>Perpetual Motion People\u003c/em> in July; meanwhile, \u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> recently surprised the world with a new record, \u003cem>Chrissybaby Forever\u003c/em>.\u003c/p>\n\u003cp>At the same time, several offerings are slightly moodier — think, perhaps, music for summer nights. \u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> is another great band from the Death Records universe, and “dream wave” band the \u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">Silhouette Era\u003c/a>\u003c/strong> has the equally reliable Breakup Records seal of approval. Anthony Ferraro has been recording for some time as \u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong>, and his long-overdue debut LP arrives in September.\u003c/p>\n\u003cp>Finally, it wouldn’t be a Bay Area summer mix without including some psychy sounds, with highlights coming from \u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong>, and \u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong>. Adams describes his band’s sound as “heavy surf rock,” and the group just unveiled the wild new \u003cem>Black Flamingo\u003c/em> EP. Fine Points is a name you might not be familiar with yet, but the band is led by members of Sleepy Sun, and its debut offering sounds very exciting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the mix, and have great start to your summer!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Track Listing:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sfjettrash\">Jet Trash\u003c/a>\u003c/strong> – “Photography is Over”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/ezrafurmanmusic\">Ezra Furman\u003c/a>\u003c/strong> – “Restless Year”\u003cbr>\n\u003cstrong>\u003ca href=\"https://paintthetreeswhite.bandcamp.com/\">Paint the Trees White\u003c/a>\u003c/strong> – “Singapore Sling”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/airsurgeon\">Air Surgeon\u003c/a>\u003c/strong> – “Wardrobe”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a>\u003c/strong> – “Eye to Eye”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Unionpacificband\">Union Pacific\u003c/a>\u003c/strong> – “Old Conversation”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/finepointsmusic\">Fine Points\u003c/a>\u003c/strong> – “Astral Season”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/christopherowensonline\">Christopher Owens\u003c/a>\u003c/strong> – “Selfish Feelings”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/TheSilhouetteEra\">The Silhouette Era\u003c/a>\u003c/strong> – “Devotion”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>\u003c/strong> – “Disintegrate”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/panicisperfect\">Panic is Perfect\u003c/a>\u003c/strong> – “Bobby Black”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/lemme.adams.music\">Lemme Adams\u003c/a>\u003c/strong> – “Black Flamingo”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/icecreamlicks\">Ice Cream\u003c/a>\u003c/strong> – “Wild”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This is the fifth entry in a series of essays from actor and co-creator of the Superego podcast, Jeremy Carter. He has been performing improv comedy for over 20 years and the Superego podcast, which was started in 2006 and was described by Splitsider as being “really like nothing else out there”.\u003c/em>\u003c/p>\n\u003cp>Like most improvisers, I develop and play lots of different characters. Some of those characters sink in a little and some soak straight through to the bone. \u003c/p>\n\u003cp>Usually, you get possessed by those “deep soak” characters because you know them like the back of your hand. You’ll start doing them while you’re shopping, while in traffic, or after sex, which isn’t always received well. Some characters leap out of you, and you don’t know where it came from. Some are easy to slip on, like old work boots. \u003c/p>\n\u003cp>For example, It’s easy for me to play my mother. I’ve seen her at her best. I’ve seen her at her worst… Usually as a result of something I’ve done. The way she says,”Oh, uh-huh” when she isn’t really listening. Or when she stops talking, mid-thought, because she’s had another thought, and you just stand there, waiting for her to finish, but you may as well be waiting for cement to smile. \u003c/p>\n\u003cp>A few years ago I developed a character named Shunt McGuppin, an outlaw country music star whose heyday was in the 1970s. Often, Shunt will burst into songs that are out right offensive while his sound engineer, Pete, just wants to record a family friendly album to release at Walmart for the holidays. I improvise little ditties often when I’m by myself, making up the hook to a song with the filthiest lyrics. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To put it bluntly, Shunt is a crazy character. He’s often stoic but due to years of drug and alcohol abuse, repeated marriages, and the ups and downs of fame, he has been driven half mad. He may have been insane to begin with, but his experiences haven’t helped. \u003c/p>\n\u003cp>Shunt is based upon a hybrid of Waylon Jennings and Hank Williams Jr. But on a personal experience level Shunt is like my uncles and the guys I worked with doing construction when I was in high school: rough, blunt, vulgar, occasionally poetic and loud. \u003c/p>\n\u003cp>Like Shunt, several members of my family have struggled with substance abuse. One uncle of mine was actually married seven times — twice to the same woman. \u003c/p>\n\u003cp>And it wasn’t just my uncles. My dad wouldn’t allow a couple of his sisters to have our phone number or address for much of my childhood because of the “unique” elements they would bring with them. I remember them having things like cocaine and somebody else’s prescription medication the few times we did visit. Then there was the one aunt that had a boyfriend who ended up stabbing her in the face repeatedly before pushing her out of a moving car. \u003c/p>\n\u003cp>It’s those kind of anecdotes that I tap into when I play Shunt or “write” songs for him (many of the songs I’ve recorded for Shunt’s sketches are made up on the spot.) But recently I took it upon myself to write and record “real” songs for him and I couldn’t be happier with the results. Writing those tracks really allowed me to dig even deeper into what I imagine Shunt’s life has been like. The cold loveless affairs, the deep misguided loves, the struggles of over the road truck driving. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The thing I love about this character, is that I feel it’s an endless well. On the surface the joke is that he sings dirty country/rock songs, but there’s more there. And though I personally wouldn’t ever write songs and record them — let alone release them — but there seems to be a comfort in pretending to be somebody else and doing it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the fifth entry in a series of essays from actor and co-creator of the Superego podcast, Jeremy Carter. He has been performing improv comedy for over 20 years and the Superego podcast, which was started in 2006 and was described by Splitsider as being “really like nothing else out there”.\u003c/em>\u003c/p>\n\u003cp>Like most improvisers, I develop and play lots of different characters. Some of those characters sink in a little and some soak straight through to the bone. \u003c/p>\n\u003cp>Usually, you get possessed by those “deep soak” characters because you know them like the back of your hand. You’ll start doing them while you’re shopping, while in traffic, or after sex, which isn’t always received well. Some characters leap out of you, and you don’t know where it came from. Some are easy to slip on, like old work boots. \u003c/p>\n\u003cp>For example, It’s easy for me to play my mother. I’ve seen her at her best. I’ve seen her at her worst… Usually as a result of something I’ve done. The way she says,”Oh, uh-huh” when she isn’t really listening. Or when she stops talking, mid-thought, because she’s had another thought, and you just stand there, waiting for her to finish, but you may as well be waiting for cement to smile. \u003c/p>\n\u003cp>A few years ago I developed a character named Shunt McGuppin, an outlaw country music star whose heyday was in the 1970s. Often, Shunt will burst into songs that are out right offensive while his sound engineer, Pete, just wants to record a family friendly album to release at Walmart for the holidays. I improvise little ditties often when I’m by myself, making up the hook to a song with the filthiest lyrics. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To put it bluntly, Shunt is a crazy character. He’s often stoic but due to years of drug and alcohol abuse, repeated marriages, and the ups and downs of fame, he has been driven half mad. He may have been insane to begin with, but his experiences haven’t helped. \u003c/p>\n\u003cp>Shunt is based upon a hybrid of Waylon Jennings and Hank Williams Jr. But on a personal experience level Shunt is like my uncles and the guys I worked with doing construction when I was in high school: rough, blunt, vulgar, occasionally poetic and loud. \u003c/p>\n\u003cp>Like Shunt, several members of my family have struggled with substance abuse. One uncle of mine was actually married seven times — twice to the same woman. \u003c/p>\n\u003cp>And it wasn’t just my uncles. My dad wouldn’t allow a couple of his sisters to have our phone number or address for much of my childhood because of the “unique” elements they would bring with them. I remember them having things like cocaine and somebody else’s prescription medication the few times we did visit. Then there was the one aunt that had a boyfriend who ended up stabbing her in the face repeatedly before pushing her out of a moving car. \u003c/p>\n\u003cp>It’s those kind of anecdotes that I tap into when I play Shunt or “write” songs for him (many of the songs I’ve recorded for Shunt’s sketches are made up on the spot.) But recently I took it upon myself to write and record “real” songs for him and I couldn’t be happier with the results. Writing those tracks really allowed me to dig even deeper into what I imagine Shunt’s life has been like. The cold loveless affairs, the deep misguided loves, the struggles of over the road truck driving. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The thing I love about this character, is that I feel it’s an endless well. On the surface the joke is that he sings dirty country/rock songs, but there’s more there. And though I personally wouldn’t ever write songs and record them — let alone release them — but there seems to be a comfort in pretending to be somebody else and doing it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Top 5 Tracks Born from the Bay Area's Filipino Mobile DJ Scene",
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"content": "\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H-XxMAoaiLM&list=PLDGuz5lFaZAAUWMT3zYMTcoMr6WQcFMMR&index=2\u003c/p>\n\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=it-1CE3aDjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0AkeAoHigis\u003c/p>\n\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n[vimeo 12886475 w=500 h=331]\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XflfiylNNXY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n",
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"excerpt": "Oliver Wang's new book 'Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area' chronicles a community of hip-hop innovation that would go on to spawn these five essential tracks.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H-XxMAoaiLM'\n title='//www.youtube.com/embed/H-XxMAoaiLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/it-1CE3aDjA'\n title='//www.youtube.com/embed/it-1CE3aDjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0AkeAoHigis'\n title='//www.youtube.com/embed/0AkeAoHigis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XflfiylNNXY'\n title='//www.youtube.com/embed/XflfiylNNXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fantasy Lineup: Six Great SF Bands Not Included in the City Hall Centennial",
"headTitle": "Fantasy Lineup: Six Great SF Bands Not Included in the City Hall Centennial | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF City Hall Centennial Celebration\u003c/h2>\n\u003cdiv class=\"event-desc\">An epic revue of San Francisco bands to celebrate the city hall’s centennial year.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This Friday, to celebrate the \u003ca href=\"http://www.sfcityhall100.com/celebration.html\" target=\"_blank\" rel=\"noopener\">100th birthday of its city hall\u003c/a>, San Francisco will be treated to a concert that honors its expansive musical heritage. Curated by the city’s rock ‘n’ roll ambassador \u003ca href=\"http://www.chuckprophet.com/\" target=\"_blank\" rel=\"noopener\">Chuck Prophet\u003c/a>, the two-part set list features a wide variety of monster hits baked in the City by the Bay, all sung by local heroes like the Kingston Trio, Jello Biafra and Kelley Stoltz.\u003c/p>\n\u003cp>It doesn’t need to be said, but I’ll say it: Prophet did an amazing job lining up this show. From what I’ve seen, the set list \u003ca href=\"https://twitter.com/ChuckProphet/status/610941514810683392/photo/1\" target=\"_blank\" rel=\"noopener\">looks fantastic\u003c/a>. Seeing Roy Loney, founding member of the Flamin’ Groovies, kick off the second set with “Slow Death” will be a not-to-miss moment; likewise, the Dead Kennedys’ “California Uber Alles” accompanied by strings is an inspired, unexpected pairing.\u003c/p>\n\u003cp>But being a music nerd, I can’t help but make my own fantasy additions to the lineup, with emphasis on “fantasy” — it’s impossible for the majority of the acts on this list to reform. Still, to give these passed-over groups some props, and to expose myself to some serious taunting, here are my dream additions to the festivities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-ZTvqUvgYCI\u003c/p>\n\u003ch3>1. Jawbreaker – “Kiss the Bottle”\u003c/h3>\n\u003cp>For me, including Jawbreaker in a list of influential San Francisco bands is an absolute no-brainer. Sure, you could blame them for later musical atrocities like Fall Out Boy, but that doesn’t mean you should push aside this band’s greatness. Numerous young fans around the world learned to deal with their emotions thanks to Blake Schwarzenbach’s words and their emo-meets-pop punk riffs. Out of the extensive catalog, “Kiss the Bottle” is a given for a SF-centric event — it’s about the drunks and derelicts of the 1990s Mission District, and was first released on \u003cem>17 Reasons\u003c/em>, a box set of songs about the rapidly changing neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0CZuNvGZen8\u003c/p>\n\u003ch3>2. Frightwig – “A Man’s Got To Do What A Man’s Got To Do”\u003c/h3>\n\u003cp>Frightwig has the tough distinction of being so ahead of their time that they’re influence isn’t widely recognized. Let’s be clear: Before there was the Riot Grrrl movement, there was Frightwig. They were unabashed feminists who held their own when playing with the dude-dominant punk bands of the early ’80s like D.O.A., G.B.H. and the Dead Kennedys. Though “I Got Lost” is probably the bigger hit — you can hear its influence on bands like Babes In Toyland — the track that would need to be played in a celebration of San Francisco would have to be “A Man’s Got To Do What A Man’s Got To Do,” their no wave-tinged dance number that, when included in their sets, would find the band prompting male audience members to join them on stage to strip.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=530gC6BztnA\u003c/p>\n\u003ch3>3. Chrome – “TV As Eyes”\u003c/h3>\n\u003cp>The first wave of San Francisco’s punk scene was so varied that it’s impossible to pick one group that truly represented all the different sounds coming out of the city in the late ’70s. For example, you had the sloppy, raw rock ‘n roll of Crime; the experimental-yet-catchy electronic punk of Tuxedomoon; and the proto-hardcore of Negative Trend. But one band that stands on the shoulders of them all, and that’s Chrome, who had already released an LP before punk rock became a thing. When the core of the group became Damon Edge, a fantastic drummer, vocalist and experimental tape musician, and Helios Creed, a shredding guitarist that would take Stooges-style riffs and phaser pedals to new heights, music in general would never be the same. And though Chrome had SF-themed songs like “Meet Me In The Subway,” the moment they grabbed the music world by the face and smacked it until it paid attention was “TV As Eyes,” the perfect encapsulation of their oeuvre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LB5YkmjalDg\u003c/p>\n\u003ch3>4. Huey Lewis and the News – “Hip to be Square”\u003c/h3>\n\u003cp>Obviously in a list of experimental, underground San Francisco bands, Huey Lewis and the News are the odd man out. But they’re here for a good reason: their impact as a band and their pride in their hometown cannot be underestimated. They’ve been written off as a ’80s pop band, when in actuality they were quite ballsier than the much of the dreck being forced down our throats on mid-’80s pop radio. And they didn’t keep their love of the city a secret; they not only featured San Francisco in their video for “I Want A New Drug,” they had the 49ers (specifically Joe Montana, Ronnie Lott and Dwight Clark (The Catch!)) sing backup vocals on “Hip To Be Square,” their retort to critics of their clean image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LBQ2305fLeA\u003c/p>\n\u003ch3>5. Primus – “Jerry Was A Race Car Driver”\u003c/h3>\n\u003cp>Out of all the hard-rocking groups that came out of San Francisco in the ’90s, Primus is definitely the most representative of the city’s pervasive weirdness. They loved the Residents and had the technical ability to play with the best prog musicians, but they weren’t afraid to dumb it down and just rock. And even though they’re responsible for popularizing one of the most horrendous musical genres to be created, funk metal, a.k.a. “thrash funk,” it’s not like they did it on purpose. Really, they were just kicking out the jams they only way they knew how, and “Jerry Was A Race Car Driver” is a prime example of why they would become so influential.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fg57RFvOWWQ\u003c/p>\n\u003ch3>6. The Rip Offs – “She Said Yeah”\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Greg Lowery, bass player for the Rip Offs and mastermind behind the influential ’90s punk label Rip Off Records, will probably despise me for including him in this article. Sadly for him, this is one of the side effects of being in an band as awesome as the Rip Offs. In an era when pop-punk in all of its various forms ruled the indie record store, the Rip Offs were a breath of fresh-yet-spit-stained air. They had fun with their hometown — the back of their LP pictured the four members urinating on a SFPD van — but they also brought the tracks, with each cut being a two-minute burst of snotty punk energy. Out of all the songs on this list, “She Said Yeah” is the one I could have on repeat for hours, months — heck, maybe even like City Hall itself, for 100 years. It never gets old.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF City Hall Centennial Celebration\u003c/h2>\n\u003cdiv class=\"event-desc\">An epic revue of San Francisco bands to celebrate the city hall’s centennial year.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-city-hall-centennial-celebration/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This Friday, to celebrate the \u003ca href=\"http://www.sfcityhall100.com/celebration.html\" target=\"_blank\" rel=\"noopener\">100th birthday of its city hall\u003c/a>, San Francisco will be treated to a concert that honors its expansive musical heritage. Curated by the city’s rock ‘n’ roll ambassador \u003ca href=\"http://www.chuckprophet.com/\" target=\"_blank\" rel=\"noopener\">Chuck Prophet\u003c/a>, the two-part set list features a wide variety of monster hits baked in the City by the Bay, all sung by local heroes like the Kingston Trio, Jello Biafra and Kelley Stoltz.\u003c/p>\n\u003cp>It doesn’t need to be said, but I’ll say it: Prophet did an amazing job lining up this show. From what I’ve seen, the set list \u003ca href=\"https://twitter.com/ChuckProphet/status/610941514810683392/photo/1\" target=\"_blank\" rel=\"noopener\">looks fantastic\u003c/a>. Seeing Roy Loney, founding member of the Flamin’ Groovies, kick off the second set with “Slow Death” will be a not-to-miss moment; likewise, the Dead Kennedys’ “California Uber Alles” accompanied by strings is an inspired, unexpected pairing.\u003c/p>\n\u003cp>But being a music nerd, I can’t help but make my own fantasy additions to the lineup, with emphasis on “fantasy” — it’s impossible for the majority of the acts on this list to reform. Still, to give these passed-over groups some props, and to expose myself to some serious taunting, here are my dream additions to the festivities.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-ZTvqUvgYCI'\n title='//www.youtube.com/embed/-ZTvqUvgYCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1. Jawbreaker – “Kiss the Bottle”\u003c/h3>\n\u003cp>For me, including Jawbreaker in a list of influential San Francisco bands is an absolute no-brainer. Sure, you could blame them for later musical atrocities like Fall Out Boy, but that doesn’t mean you should push aside this band’s greatness. Numerous young fans around the world learned to deal with their emotions thanks to Blake Schwarzenbach’s words and their emo-meets-pop punk riffs. Out of the extensive catalog, “Kiss the Bottle” is a given for a SF-centric event — it’s about the drunks and derelicts of the 1990s Mission District, and was first released on \u003cem>17 Reasons\u003c/em>, a box set of songs about the rapidly changing neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0CZuNvGZen8'\n title='//www.youtube.com/embed/0CZuNvGZen8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2. Frightwig – “A Man’s Got To Do What A Man’s Got To Do”\u003c/h3>\n\u003cp>Frightwig has the tough distinction of being so ahead of their time that they’re influence isn’t widely recognized. Let’s be clear: Before there was the Riot Grrrl movement, there was Frightwig. They were unabashed feminists who held their own when playing with the dude-dominant punk bands of the early ’80s like D.O.A., G.B.H. and the Dead Kennedys. Though “I Got Lost” is probably the bigger hit — you can hear its influence on bands like Babes In Toyland — the track that would need to be played in a celebration of San Francisco would have to be “A Man’s Got To Do What A Man’s Got To Do,” their no wave-tinged dance number that, when included in their sets, would find the band prompting male audience members to join them on stage to strip.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/530gC6BztnA'\n title='//www.youtube.com/embed/530gC6BztnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>3. Chrome – “TV As Eyes”\u003c/h3>\n\u003cp>The first wave of San Francisco’s punk scene was so varied that it’s impossible to pick one group that truly represented all the different sounds coming out of the city in the late ’70s. For example, you had the sloppy, raw rock ‘n roll of Crime; the experimental-yet-catchy electronic punk of Tuxedomoon; and the proto-hardcore of Negative Trend. But one band that stands on the shoulders of them all, and that’s Chrome, who had already released an LP before punk rock became a thing. When the core of the group became Damon Edge, a fantastic drummer, vocalist and experimental tape musician, and Helios Creed, a shredding guitarist that would take Stooges-style riffs and phaser pedals to new heights, music in general would never be the same. And though Chrome had SF-themed songs like “Meet Me In The Subway,” the moment they grabbed the music world by the face and smacked it until it paid attention was “TV As Eyes,” the perfect encapsulation of their oeuvre.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LB5YkmjalDg'\n title='//www.youtube.com/embed/LB5YkmjalDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>4. Huey Lewis and the News – “Hip to be Square”\u003c/h3>\n\u003cp>Obviously in a list of experimental, underground San Francisco bands, Huey Lewis and the News are the odd man out. But they’re here for a good reason: their impact as a band and their pride in their hometown cannot be underestimated. They’ve been written off as a ’80s pop band, when in actuality they were quite ballsier than the much of the dreck being forced down our throats on mid-’80s pop radio. And they didn’t keep their love of the city a secret; they not only featured San Francisco in their video for “I Want A New Drug,” they had the 49ers (specifically Joe Montana, Ronnie Lott and Dwight Clark (The Catch!)) sing backup vocals on “Hip To Be Square,” their retort to critics of their clean image.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LBQ2305fLeA'\n title='//www.youtube.com/embed/LBQ2305fLeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>5. Primus – “Jerry Was A Race Car Driver”\u003c/h3>\n\u003cp>Out of all the hard-rocking groups that came out of San Francisco in the ’90s, Primus is definitely the most representative of the city’s pervasive weirdness. They loved the Residents and had the technical ability to play with the best prog musicians, but they weren’t afraid to dumb it down and just rock. And even though they’re responsible for popularizing one of the most horrendous musical genres to be created, funk metal, a.k.a. “thrash funk,” it’s not like they did it on purpose. Really, they were just kicking out the jams they only way they knew how, and “Jerry Was A Race Car Driver” is a prime example of why they would become so influential.\u003c/p>\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/Fg57RFvOWWQ'\n title='//www.youtube.com/embed/Fg57RFvOWWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>6. The Rip Offs – “She Said Yeah”\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Greg Lowery, bass player for the Rip Offs and mastermind behind the influential ’90s punk label Rip Off Records, will probably despise me for including him in this article. Sadly for him, this is one of the side effects of being in an band as awesome as the Rip Offs. In an era when pop-punk in all of its various forms ruled the indie record store, the Rip Offs were a breath of fresh-yet-spit-stained air. They had fun with their hometown — the back of their LP pictured the four members urinating on a SFPD van — but they also brought the tracks, with each cut being a two-minute burst of snotty punk energy. Out of all the songs on this list, “She Said Yeah” is the one I could have on repeat for hours, months — heck, maybe even like City Hall itself, for 100 years. It never gets old.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's Your E-40 Warriors Anthem for their NBA Championship Win",
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"content": "\u003cp>\u003cem>\u003cb>Update:\u003c/b> The Golden State Warriors beat the Cleveland Cavaliers 105-97 in Game 6 of the NBA Finals, winning their first championship in 40 years. Please check KQED News for up-to-date coverage of the \u003ca href=\"http://ww2.kqed.org/news/2015/06/16/game-6-warriors-look-to-clinch-nba-championship\" target=\"_blank\" rel=\"noopener\">winning game and the following celebration\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>Every team needs a good anthem around the end of the season, and luckily for Warriors fans glued to the NBA Finals, the Bay Area’s own E-40 has been happy to oblige.\u003c/p>\n\u003cp>The original “Choices” was \u003ca href=\"https://www.thefader.com/2015/05/23/8-songs-you-need-in-your-life-this-memorial-day-weekend\" target=\"_blank\" rel=\"noopener\">already a banger\u003c/a>, but E-40’s remix in honor of the Warriors is pure fire. You’ve heard it blaring out of cars on International Blvd., you’ve Shazamed it off KMEL, and you’ve seen “YUP!” painted on the \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">Illuminaries’ famous Mac Dre / Steph Curry mural\u003c/a> at 27th and Northgate. \u003c/p>\n\u003cp>Now that the Warriors are NBA Champions, crank it up and let the Ballatician serenade Oakland as it celebrates the sweet victory:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bfYvtz3NbKE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cb>Update:\u003c/b> The Golden State Warriors beat the Cleveland Cavaliers 105-97 in Game 6 of the NBA Finals, winning their first championship in 40 years. Please check KQED News for up-to-date coverage of the \u003ca href=\"http://ww2.kqed.org/news/2015/06/16/game-6-warriors-look-to-clinch-nba-championship\" target=\"_blank\" rel=\"noopener\">winning game and the following celebration\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>Every team needs a good anthem around the end of the season, and luckily for Warriors fans glued to the NBA Finals, the Bay Area’s own E-40 has been happy to oblige.\u003c/p>\n\u003cp>The original “Choices” was \u003ca href=\"https://www.thefader.com/2015/05/23/8-songs-you-need-in-your-life-this-memorial-day-weekend\" target=\"_blank\" rel=\"noopener\">already a banger\u003c/a>, but E-40’s remix in honor of the Warriors is pure fire. You’ve heard it blaring out of cars on International Blvd., you’ve Shazamed it off KMEL, and you’ve seen “YUP!” painted on the \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">Illuminaries’ famous Mac Dre / Steph Curry mural\u003c/a> at 27th and Northgate. \u003c/p>\n\u003cp>Now that the Warriors are NBA Champions, crank it up and let the Ballatician serenade Oakland as it celebrates the sweet victory:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bfYvtz3NbKE'\n title='//www.youtube.com/embed/bfYvtz3NbKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Café du Nord to Reopen as Sit-Down Bar with Quiet Music",
"headTitle": "Café du Nord to Reopen as Sit-Down Bar with Quiet Music | KQED",
"content": "\u003cp>The new owners of \u003ca href=\"http://www.cafedunord.com/\" target=\"_blank\" rel=\"noopener\">Café du Nord\u003c/a> announced Monday that the popular Upper Market concert venue, which closed in January 2014, will reopen on June 17 as a cocktail bar, restaurant and, yes, a place to hear music.\u003c/p>\n\u003cp>But the former underground rock club (literally underground — you walk down several steps to enter it) where locals could catch groups like Thee Oh Sees, Sic Alps and Frightwig before it shuttered, won’t be hosting loud punk bands.\u003c/p>\n\u003cp>According to a press release published Monday, the kind of groups that patrons might catch in the cafe’s 30-table, newly-christened “Viking Room” will be local artists that are a “complement to guests’ drinking and dining experiences.” In other words, the repertoire will focus on jazz, blues and cocktail piano.\u003c/p>\n\u003cp>For those following the sale and redevelopment of the cafe, this is not news.\u003c/p>\n\u003cp>The new owners, restaurateurs the Bon Vivants and Ne Timeas Restaurant Group, have been clear about their intentions to make Café du Nord more about the food since \u003ca href=\"http://sf.eater.com/2014/9/12/6156971/more-details-on-cafe-du-nords-revival-arriving-late-fall\" target=\"_blank\" rel=\"noopener\">September of last year\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reopening and re-branding of Café du Nord comes at a time when other loud rock venues such as the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room have announced that they are closing up shop\u003c/a>. Meanwhile, the Swedish American Hall, which sits above the cafe, only offers \u003ca href=\"http://ww2.kqed.org/arts/2015/02/15/ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall/\" target=\"_blank\" rel=\"noopener\">acoustic shows\u003c/a>.\u003c/p>\n\u003cp>The local music community has expressed mixed feelings about the new du Nord on social media. Some, such as Ryan Coseboom of Bay Area electronic groups Halou and Stripmall Architecture, are excited to see a new cocktail bar by the restauranteurs behind Flour + Water.\u003c/p>\n\u003cp>“I played there probably ten times. Great venue and great people worked there, ” said Coseboom. “However, things change and I certainly never presumed to have any sort of say in what they chose to do with the property or what kind of business they should do.”\u003c/p>\n\u003cp>Others, such as East Bay Express’ music editor Sam Lefebvre (who has also played drums for local bands Cold Beat and Warm Soda), had a decidedly more critical take.\u003c/p>\n\u003cp>“File under: More reasons not to believe restauranteurs who buy historic venues and say things like, ‘My ultimate goal would be to have a better live music experience than exists now,'” said Lefebvre, referring to a quote from du Nord owner Dylan MacNiven in a Dec. 2013 article in the \u003ca href=\"http://www.sfweekly.com/shookdown/2013/12/04/new-ownership-renovations-coming-to-cafe-du-nord-future-of-live-music-unclear-updated\" target=\"_blank\" rel=\"noopener\">SF Weekly’s music blog All Shook Down\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cafe will be a boon for those looking to catch a late night bite as the \u003ca href=\"http://sfist.com/2015/06/15/cafe_du_nord_reopens_wednesday_with.php\" target=\"_blank\" rel=\"noopener\">kitchen will be open nightly\u003c/a> until 1:30am, with drinks being served until 2am.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new owners of \u003ca href=\"http://www.cafedunord.com/\" target=\"_blank\" rel=\"noopener\">Café du Nord\u003c/a> announced Monday that the popular Upper Market concert venue, which closed in January 2014, will reopen on June 17 as a cocktail bar, restaurant and, yes, a place to hear music.\u003c/p>\n\u003cp>But the former underground rock club (literally underground — you walk down several steps to enter it) where locals could catch groups like Thee Oh Sees, Sic Alps and Frightwig before it shuttered, won’t be hosting loud punk bands.\u003c/p>\n\u003cp>According to a press release published Monday, the kind of groups that patrons might catch in the cafe’s 30-table, newly-christened “Viking Room” will be local artists that are a “complement to guests’ drinking and dining experiences.” In other words, the repertoire will focus on jazz, blues and cocktail piano.\u003c/p>\n\u003cp>For those following the sale and redevelopment of the cafe, this is not news.\u003c/p>\n\u003cp>The new owners, restaurateurs the Bon Vivants and Ne Timeas Restaurant Group, have been clear about their intentions to make Café du Nord more about the food since \u003ca href=\"http://sf.eater.com/2014/9/12/6156971/more-details-on-cafe-du-nords-revival-arriving-late-fall\" target=\"_blank\" rel=\"noopener\">September of last year\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reopening and re-branding of Café du Nord comes at a time when other loud rock venues such as the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room have announced that they are closing up shop\u003c/a>. Meanwhile, the Swedish American Hall, which sits above the cafe, only offers \u003ca href=\"http://ww2.kqed.org/arts/2015/02/15/ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall/\" target=\"_blank\" rel=\"noopener\">acoustic shows\u003c/a>.\u003c/p>\n\u003cp>The local music community has expressed mixed feelings about the new du Nord on social media. Some, such as Ryan Coseboom of Bay Area electronic groups Halou and Stripmall Architecture, are excited to see a new cocktail bar by the restauranteurs behind Flour + Water.\u003c/p>\n\u003cp>“I played there probably ten times. Great venue and great people worked there, ” said Coseboom. “However, things change and I certainly never presumed to have any sort of say in what they chose to do with the property or what kind of business they should do.”\u003c/p>\n\u003cp>Others, such as East Bay Express’ music editor Sam Lefebvre (who has also played drums for local bands Cold Beat and Warm Soda), had a decidedly more critical take.\u003c/p>\n\u003cp>“File under: More reasons not to believe restauranteurs who buy historic venues and say things like, ‘My ultimate goal would be to have a better live music experience than exists now,'” said Lefebvre, referring to a quote from du Nord owner Dylan MacNiven in a Dec. 2013 article in the \u003ca href=\"http://www.sfweekly.com/shookdown/2013/12/04/new-ownership-renovations-coming-to-cafe-du-nord-future-of-live-music-unclear-updated\" target=\"_blank\" rel=\"noopener\">SF Weekly’s music blog All Shook Down\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cafe will be a boon for those looking to catch a late night bite as the \u003ca href=\"http://sfist.com/2015/06/15/cafe_du_nord_reopens_wednesday_with.php\" target=\"_blank\" rel=\"noopener\">kitchen will be open nightly\u003c/a> until 1:30am, with drinks being served until 2am.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n",
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"excerpt": "While inextricably affiliated with the New York jazz scene, Ornette Coleman — who died Thursday at age 85 — enjoyed an ongoing affair with the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QSmYTc1Jv7w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSVMG0Y-Dvs\u003c/p>\n\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\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/QSmYTc1Jv7w'\n title='//www.youtube.com/embed/QSmYTc1Jv7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\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/zSVMG0Y-Dvs'\n title='//www.youtube.com/embed/zSVMG0Y-Dvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is George Harrison at a Concert Near You?",
"headTitle": "Is George Harrison at a Concert Near You? | KQED",
"content": "\u003cp>\u003ca href=\"http://www.georgeharrison.com/\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> died nearly 15 years ago, but you may have spotted him at a show in recent months. From the ethereal glow of illuminated smartphones raised overhead, Harrison’s visage has recently graced concerts from Oakland to Santa Cruz.\u003c/p>\n\u003cp>I first saw Harrison’s beaming face in April at the \u003ca href=\"http://beachboardwalk.com/cocoanut-grove/\" target=\"_blank\" rel=\"noopener\">Cocoanut Grove\u003c/a> in Santa Cruz. While I waited for electronic musician \u003ca href=\"http://www.pbvsgr.com/\" target=\"_blank\" rel=\"noopener\">Panda Bear\u003c/a> to take the stage, two young men held up the same close-up candid of Harrison flashing a toothy smile. Before I could process this poor man’s \u003ca href=\"https://www.youtube.com/watch?v=TGbrFmPBV0Y\" target=\"_blank\" rel=\"noopener\">Tupac hologram\u003c/a>, four other phones joined with the same image, a legion of Harrisons aloft.\u003c/p>\n\u003cfigure id=\"attachment_10742590\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\" alt=\"The album cover for Let it Be by The Beatles, courtesy thebeatles.com\" width=\"500\" height=\"501\" class=\"size-full wp-image-10742590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Beatles, \u003cem>Let It Be\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Normally, illuminated screens at a concert invoke nothing but contempt from me, but Harrison’s guileless face seemed to be teleported from a simpler, analog time. And while attempts to replace the lighter of yesteryear with a lit-up phone are largely unsuccessful, this Harrison synchronicity brought the crowd closer to a shared experience.\u003c/p>\n\u003cp>I soon learned from 23-year-old San Francisco resident Ernie Houk that he had witnessed the same phenomenon at a \u003ca href=\"http://www.tameimpala.com/\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a> concert at Oakland’s \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> in November of 2014. “People do a lot of dumb things at concerts to get attention,” explained Houk, but he, too, felt this was different.\u003c/p>\n\u003cp>Not sure whether it was a meme dug up from “the bowels of \u003ca href=\"https://www.reddit.com/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>,” Houk was initially confused, and then amused, by the 20 Harrisons popping up around him at the Fox Theater. At the Cocoanut Grove, I was similarly curious, so after the show I made a beeline for the stage to track down the initiator: 19-year-old Russell Cowick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cowick explained that he uses the image of Harrison from the cover of \u003ca href=\"http://www.thebeatles.com/album/let-it-be\" target=\"_blank\" rel=\"noopener\">\u003ci>Let it Be\u003c/i>\u003c/a> as a way to test crowds at concerts. Testing for what, you may ask? “In some of my classes at the \u003ca target=\"_blank\" rel=\"noopener\">University of San Francisco\u003c/a>,” Cowick explained, “there wasn’t a single person who knew the name of a single Beatle.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=4Tr3P_0xC3U?rel=0&controls=0&showinfo=0&w=640&h=480]\u003c/p>\n\u003cp>Let’s just let that soak in for a minute. There are students in college, in San Francisco, who cannot name a single Beatle. And even if they were able to name one Beatle, what are the chances it would be Harrison?\u003c/p>\n\u003cp>Luckily for Cowick, the estimated hundred-plus participants in his social experiment prove that the memory of Harrison persists. How else would fans be able to pull up a picture of Harrison on their phones, after all, if they couldn’t remember his name on sight?\u003c/p>\n\u003cp>This Millennial ode to Harrison comes from a sincere love of the Beatles, and Cowick doesn’t plan to stop anytime soon. “I’ll continue to do this forever until I can’t go to concerts anymore, and then I’ll tell my kids to do it. Hopefully, \u003ca href=\"https://www.youtube.com/watch?v=eCss0kZXeyE\" target=\"_blank\" rel=\"noopener\">when I’m 64\u003c/a>, there will still be a couple people left that will shoot me a George back,” Cowick added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When asked if he would hold up a picture of Harrison at future concerts, Houk said, “I would if it meant a kid who didn’t know who the Beatles were decided to listen to them for the first time.” Considering the \u003ca href=\"http://www.billboard.com/articles/news/6554067/raps-impact-outweighs-beatles-study\" target=\"_blank\" rel=\"noopener\">recent study showing hip-hop to be more influential than the Beatles\u003c/a> on today’s music, if you see Harrison at a concert near you, remember that the Beatles’ ubiquity can no longer be taken for granted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.georgeharrison.com/\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> died nearly 15 years ago, but you may have spotted him at a show in recent months. From the ethereal glow of illuminated smartphones raised overhead, Harrison’s visage has recently graced concerts from Oakland to Santa Cruz.\u003c/p>\n\u003cp>I first saw Harrison’s beaming face in April at the \u003ca href=\"http://beachboardwalk.com/cocoanut-grove/\" target=\"_blank\" rel=\"noopener\">Cocoanut Grove\u003c/a> in Santa Cruz. While I waited for electronic musician \u003ca href=\"http://www.pbvsgr.com/\" target=\"_blank\" rel=\"noopener\">Panda Bear\u003c/a> to take the stage, two young men held up the same close-up candid of Harrison flashing a toothy smile. Before I could process this poor man’s \u003ca href=\"https://www.youtube.com/watch?v=TGbrFmPBV0Y\" target=\"_blank\" rel=\"noopener\">Tupac hologram\u003c/a>, four other phones joined with the same image, a legion of Harrisons aloft.\u003c/p>\n\u003cfigure id=\"attachment_10742590\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg\" alt=\"The album cover for Let it Be by The Beatles, courtesy thebeatles.com\" width=\"500\" height=\"501\" class=\"size-full wp-image-10742590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Let-it-Be-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Beatles, \u003cem>Let It Be\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Normally, illuminated screens at a concert invoke nothing but contempt from me, but Harrison’s guileless face seemed to be teleported from a simpler, analog time. And while attempts to replace the lighter of yesteryear with a lit-up phone are largely unsuccessful, this Harrison synchronicity brought the crowd closer to a shared experience.\u003c/p>\n\u003cp>I soon learned from 23-year-old San Francisco resident Ernie Houk that he had witnessed the same phenomenon at a \u003ca href=\"http://www.tameimpala.com/\" target=\"_blank\" rel=\"noopener\">Tame Impala\u003c/a> concert at Oakland’s \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> in November of 2014. “People do a lot of dumb things at concerts to get attention,” explained Houk, but he, too, felt this was different.\u003c/p>\n\u003cp>Not sure whether it was a meme dug up from “the bowels of \u003ca href=\"https://www.reddit.com/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>,” Houk was initially confused, and then amused, by the 20 Harrisons popping up around him at the Fox Theater. At the Cocoanut Grove, I was similarly curious, so after the show I made a beeline for the stage to track down the initiator: 19-year-old Russell Cowick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cowick explained that he uses the image of Harrison from the cover of \u003ca href=\"http://www.thebeatles.com/album/let-it-be\" target=\"_blank\" rel=\"noopener\">\u003ci>Let it Be\u003c/i>\u003c/a> as a way to test crowds at concerts. Testing for what, you may ask? “In some of my classes at the \u003ca target=\"_blank\" rel=\"noopener\">University of San Francisco\u003c/a>,” Cowick explained, “there wasn’t a single person who knew the name of a single Beatle.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4Tr3P_0xC3U?rel=0'\n title='//www.youtube.com/embed/4Tr3P_0xC3U?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Let’s just let that soak in for a minute. There are students in college, in San Francisco, who cannot name a single Beatle. And even if they were able to name one Beatle, what are the chances it would be Harrison?\u003c/p>\n\u003cp>Luckily for Cowick, the estimated hundred-plus participants in his social experiment prove that the memory of Harrison persists. How else would fans be able to pull up a picture of Harrison on their phones, after all, if they couldn’t remember his name on sight?\u003c/p>\n\u003cp>This Millennial ode to Harrison comes from a sincere love of the Beatles, and Cowick doesn’t plan to stop anytime soon. “I’ll continue to do this forever until I can’t go to concerts anymore, and then I’ll tell my kids to do it. Hopefully, \u003ca href=\"https://www.youtube.com/watch?v=eCss0kZXeyE\" target=\"_blank\" rel=\"noopener\">when I’m 64\u003c/a>, there will still be a couple people left that will shoot me a George back,” Cowick added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When asked if he would hold up a picture of Harrison at future concerts, Houk said, “I would if it meant a kid who didn’t know who the Beatles were decided to listen to them for the first time.” Considering the \u003ca href=\"http://www.billboard.com/articles/news/6554067/raps-impact-outweighs-beatles-study\" target=\"_blank\" rel=\"noopener\">recent study showing hip-hop to be more influential than the Beatles\u003c/a> on today’s music, if you see Harrison at a concert near you, remember that the Beatles’ ubiquity can no longer be taken for granted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \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>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" 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/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" 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/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \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>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" 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/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" 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/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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