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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the best Northern California indie-rock festivals.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_Festivals_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The rapid rise in the number of music festivals over the last decade isn’t a distinctly local phenomenon, but there’s something about the way the Bay Area does festival season that feels unique. In many cases it’s the use of beautiful public spaces, often city and state parks, that become part of the festival experience. Or maybe it’s the way that our festivals invest more time and effort into making sure that the food and drink offerings are compelling on their own. And, of course, there’s also the presence of great local bands, adding unique Bay Area flavor to each event.\u003c/p>\n\u003cp>To be sure, there’s certainly an argument to be made that the Bay Area is reaching “peak festival.” Still, the benefits music fans can reap from the wealth of opportunities to see great bands in unique outdoor environments are undeniable. And looking at this list, it’s going to be a busy summer for music fans.\u003c/p>\n\u003cp>This mixtape collects 10 songs by artists performing at Northern California music festivals this summer. Each pick is accompanied by our reasons why that festival is worth seeking out. Enjoy the mix — and head to a music festival!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the festivals:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015.jpg\" alt=\"Hickey Fest 2015 Poster\" width=\"960\" height=\"960\" class=\"alignnone size-full wp-image-10677900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/vetiverse\">Vetiver\u003c/a>\u003c/strong> – “Current Carry”\u003cbr>\n\u003ca href=\"https://hickeyfest.wordpress.com/\">\u003cstrong>Hickey Fest\u003c/strong>\u003c/a>\u003cbr>\nStandish Hickey State Park, Leggett\u003cbr>\nJune 20-22, 2015\u003cbr>\nLocal musician Ash Reiter curates this annual festival in Mendocino County’s Standish Hickey State Park, which includes two dozen rock, folk and psych bands. This year’s lineup looks like the best yet, with Jolie Holland, Vetiver, and Dead Meadow topping a bill packed with great local bands, including Bay Bridged favorites Sugar Candy Mountain, Cool Ghouls, Luke Sweeney and Bells Atlas. Promising “25 bands, community campgrounds, psychedelic projections and other relaxing adventures,” it sounds like an awesome reason to get out of the city and go camping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015.jpg\" alt=\"Bottlerock Napa 2015 Poster\" width=\"600\" height=\"797\" class=\"alignnone size-full wp-image-10677903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015-400x531.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015-452x600.jpg 452w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/courtneybarnettmusic\">Courtney Barnett\u003c/a>\u003c/strong> – “Pedestrian at Best”\u003cbr>\n\u003ca href=\"http://www.bottlerocknapavalley.com/\">\u003cstrong>BottleRock Napa Valley\u003c/strong>\u003c/a>\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nMay 29-31, 2015\u003cbr>\nBottleRock’s first year was infamously tumultuous, leaving in its wake unpaid debts and plenty of controversy. An ownership change led to a revitalized event in 2014, and 2015 finds the festival returning with 70+ bands. The lineup is less indie-oriented than most of the fests in this mix, but still offers plenty of potential highlights. It’s especially promising for foodies, with a “Culinary Stage” that will feature “celebrated chefs, vintners, actors, professional athletes and sommeliers participating in entertaining demos, performances, and other hijinx.” (On Sunday, Snoop Dogg mixes it up with chef Masaharu Morimoto.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015.jpg\" alt=\"Burger Boogaloo 2015 Poster\" width=\"673\" height=\"792\" class=\"alignnone size-full wp-image-10677896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015.jpg 673w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015-400x471.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015-510x600.jpg 510w\" sizes=\"(max-width: 673px) 100vw, 673px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/The-Gories-official/274813555900045\">The Gories\u003c/a>\u003c/strong> – “On The Run”\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">\u003cstrong>Burger Boogaloo\u003c/strong>\u003c/a>\u003cbr>\nMosswood Park, Oakland\u003cbr>\nJuly 4-5, 2015\u003cbr>\nGarage rock fans can’t miss the 2015 Burger Boogaloo, celebrating the genre’s surprising diversity with two days of performances hosted by the legendary John Waters. It’s a stacked lineup, with reunited groups like the Mummies and the Gories alongside some of today’s most rocking bands, including Fuzz, the Gooch Palms, and Shannon & The Clams — and rare local gigs by Japanese bands the 5.6.7.8’s and Thunderroads. Beyond the music, there’s also the location: the Mosswood Park bandshell is a secluded gem, making it the perfect oasis for rock ‘n’ roll aficionados.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015.jpg\" alt=\"Outside Lands 2015 Poster\" width=\"800\" height=\"944\" class=\"alignnone size-full wp-image-10677902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015-400x472.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015-508x600.jpg 508w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/toroymoi\">Toro Y Moi\u003c/a>\u003c/strong> – “Run Baby Run”\u003cbr>\n\u003ca href=\"http://www.sfoutsidelands.com/\">\u003cstrong>Outside Lands Music and Arts Festival\u003c/strong>\u003c/a>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nAugust 7-9, 2015\u003cbr>\nWhat new can be said about Outside Lands? Festival passes sold out in the blink of an eye this year, a testament to the event’s consistently high quality. In addition to the big names one expects at a festival of this size, Outside Lands 2015 once again features some stellar locals — Fantastic Negrito, The Sam Chase, Giraffage and more. Plus, the organizers do a killer job on food, wine and beer, making it truly a major music festival fit for San Franciscans. Outside Lands has been around for less than a decade, but it’s difficult to imagine a summer without it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Huichica-2015.jpg\" alt=\"Huichica 2015 Poster\" width=\"600\" height=\"920\" class=\"alignnone size-full wp-image-10677898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Huichica-2015.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Huichica-2015-400x613.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Huichica-2015-391x600.jpg 391w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/amendunes\">Amen Dunes\u003c/a>\u003c/strong> – “Song To The Siren”\u003cbr>\n\u003ca href=\"http://huichica.com/\">\u003cstrong>Huichica Festival\u003c/strong>\u003c/a>\u003cbr>\nGundlach Bundschu Winery, Sonoma\u003cbr>\nJune 12-13, 2015\u003cbr>\nNorth Bay music fans already know about Gundlach-Bundschu winery’s frequent concerts, but Huichica’s killer array of performers make it well worth the trip to Sonoma. Curated by Jeff Bundschu and Eric Johnson (of Fruit Bats and EDJ fame), the fest offers three stages of music over two days, with likely highlights including the welcome return of Bradford Cox’s Atlas Sound, shuffling psych-poppers Allah-Las, and the compelling singer-songwriter Jessica Pratt. Add plenty of tasty Gundlach-Bundschu wine on hand and Sonoma’s weather, and you’ve got a recipe for a couple of blissful days.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/stern-grove-2015.png\" alt=\"Stern Grove 2015\" width=\"1580\" height=\"783\" class=\"alignnone size-full wp-image-10677894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015.png 1580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-400x198.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-1180x585.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-960x476.png 960w\" sizes=\"(max-width: 1580px) 100vw, 1580px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/zakiyaharrismusic\">Zakiya Harris\u003c/a>\u003c/strong> – “Shape Shifter”\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/\">\u003cstrong>Stern Grove Festival\u003c/strong>\u003c/a>\u003cbr>\nStern Grove, San Francisco\u003cbr>\nSundays from June 14-August 16\u003cbr>\nThe Stern Grove Festival could probably just coast on the promise of free concerts in its gorgeous grove and still get large audiences. Instead, top-notch booking every year makes Stern Grove’s free Sunday concerts throughout the summer an extremely popular treat. As usual, Stern Grove’s 78th season traverses a variety of genres; while we’re definitely excited about tUnE-yArDs’ performance on July 19, it’s great to see plenty of talented Bay Area acts, like the California Honeydrops, Con Brio, and Zakiya Harris, appearing throughout the season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015.jpg\" alt=\"Live 105 BFD 2015 Poster\" width=\"576\" height=\"813\" class=\"alignnone size-full wp-image-10677897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015-425x600.jpg 425w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterswaters\">WATERS\u003c/a>\u003c/strong> – “I Feel Everything”\u003cbr>\n\u003ca href=\"http://live105.cbslocal.com/show/bfd/\">\u003cstrong>BFD 2015\u003c/strong>\u003c/a>\u003cbr>\nShoreline Amphitheatre, Mountain View\u003cbr>\nJune 6, 2015\u003cbr>\nLive 105 has been producing BFD for 21 years now, and the 2015 festival boasts a strong lineup across four stages. Modest Mouse and Of Monsters and Men may be the top names, but there are a ton of stellar Bay Area bands peppered throughout, like Cathedrals, K.Flay, WATERS, the Family Crest, and Andrew St. James. Very impressive, and a testament to Live 105’s continued support of the local scene.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015.jpg\" alt=\"Fat Wreck Chords 2015 Poster\" width=\"960\" height=\"960\" class=\"alignnone size-full wp-image-10677899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/swinginutters\">Swingin’ Utters\u003c/a>\u003c/strong> – “I’m Not Coming Home”\u003cbr>\n\u003ca href=\"http://www.fatwreck.com/news/detail/829\">\u003cstrong>Fat Wreck Chords’ “Fat Wrecked for 25 Years”\u003c/strong>\u003c/a>\u003cbr>\nTBA, San Francisco\u003cbr>\nAugust 22-23, 2015\u003cbr>\nSan Francisco record label Fat Wreck Chords commemorates 25 years — a remarkable achievement well worth celebrating — with a North American tour that culminates in a two-day festival in San Francisco. Details are currently a little sparse on the SF fest, including the exact location, but expect performances from label honcho Fat Mike’s NOFX, punk mainstays Lagwagon and Swingin’ Utters, and newer Fat acts like toyGuitar and Bad Cop/Bad Cop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015.jpg\" alt=\"Deathstock I 2015 Poster\" width=\"566\" height=\"960\" class=\"alignnone size-full wp-image-10677901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015.jpg 566w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015-400x678.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015-354x600.jpg 354w\" sizes=\"(max-width: 566px) 100vw, 566px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/smiles666\">Smiles\u003c/a>\u003c/strong> – “Sad Faces”\u003cbr>\n\u003ca href=\"http://www.longlivedeathrecords.com/deathstock-i/\">\u003cstrong>Deathstock I\u003c/strong>\u003c/a>\u003cbr>\nCamp Outback, Guerneville\u003cbr>\nJune 26-28, 2015\u003cbr>\nDeath Records — led by Brian Wakefield of bands Emotional and Melted Toys — has quietly put out a steady stream of excellent tapes over the last year, and the label is celebrating its one year anniversary with three days of music and camping in Guerneville. Unsurprisingly, it’s a lineup full of great bands, including Death Records artists like Smiles, Air Surgeon, Cole Lodge, and fellow local talents the Mantles, Danny James, CCR Headcleaner, and Sarah Bethe Nelson. Plus, the festival promises an appearance by Saturday Looks Good to Me’s Fred Thomas, who has a terrific new solo LP out now on Polyvinyl.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final.jpg\" alt=\"Phono del Sol 2015 Poster\" width=\"900\" height=\"1391\" class=\"alignnone size-full wp-image-10677904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final-763x1180.jpg 763w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MasYsa\">Mas Ysa\u003c/a>\u003c/strong> – “Margarita”\u003cbr>\n\u003ca href=\"http://www.phonodelsol.com\">\u003cstrong>Phono del Sol Music & Food Festival\u003c/strong>\u003c/a>\u003cbr>\nPotrero del Sol Park, San Francisco\u003cbr>\nJuly 11, 2015\u003cbr>\nOkay, we’re obviously more than a little biased about this festival, which, full disclosure, is produced by the Bay Bridged. But we’re very excited about Phono del Sol 2015: headliners Tanlines and King Tuff will join nine other local and touring acts like Sonny & The Sunsets and Generationals for an afternoon of music and fun in Potrero del Sol Park. Also along for the fest are eight local food trucks serving grub all day long, making it an all-around great way to spend a day in one of San Francisco’s most under-appreciated parks.\u003c/p>\n\n",
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"excerpt": "Wondering which indie-rock festivals to hit up this summer? The Bay Bridged has you covered with their mixtape podcast of upcoming highlights from the Bay Area and beyond.",
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"title": "Mixtape: Northern California's Best Summer Indie-Rock Festivals | KQED",
"description": "Wondering which indie-rock festivals to hit up this summer? The Bay Bridged has you covered with their mixtape podcast of upcoming highlights from the Bay Area and beyond.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the best Northern California indie-rock festivals.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Summer_Festivals_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The rapid rise in the number of music festivals over the last decade isn’t a distinctly local phenomenon, but there’s something about the way the Bay Area does festival season that feels unique. In many cases it’s the use of beautiful public spaces, often city and state parks, that become part of the festival experience. Or maybe it’s the way that our festivals invest more time and effort into making sure that the food and drink offerings are compelling on their own. And, of course, there’s also the presence of great local bands, adding unique Bay Area flavor to each event.\u003c/p>\n\u003cp>To be sure, there’s certainly an argument to be made that the Bay Area is reaching “peak festival.” Still, the benefits music fans can reap from the wealth of opportunities to see great bands in unique outdoor environments are undeniable. And looking at this list, it’s going to be a busy summer for music fans.\u003c/p>\n\u003cp>This mixtape collects 10 songs by artists performing at Northern California music festivals this summer. Each pick is accompanied by our reasons why that festival is worth seeking out. Enjoy the mix — and head to a music festival!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the festivals:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015.jpg\" alt=\"Hickey Fest 2015 Poster\" width=\"960\" height=\"960\" class=\"alignnone size-full wp-image-10677900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Hickey-Fest-2015-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/vetiverse\">Vetiver\u003c/a>\u003c/strong> – “Current Carry”\u003cbr>\n\u003ca href=\"https://hickeyfest.wordpress.com/\">\u003cstrong>Hickey Fest\u003c/strong>\u003c/a>\u003cbr>\nStandish Hickey State Park, Leggett\u003cbr>\nJune 20-22, 2015\u003cbr>\nLocal musician Ash Reiter curates this annual festival in Mendocino County’s Standish Hickey State Park, which includes two dozen rock, folk and psych bands. This year’s lineup looks like the best yet, with Jolie Holland, Vetiver, and Dead Meadow topping a bill packed with great local bands, including Bay Bridged favorites Sugar Candy Mountain, Cool Ghouls, Luke Sweeney and Bells Atlas. Promising “25 bands, community campgrounds, psychedelic projections and other relaxing adventures,” it sounds like an awesome reason to get out of the city and go camping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015.jpg\" alt=\"Bottlerock Napa 2015 Poster\" width=\"600\" height=\"797\" class=\"alignnone size-full wp-image-10677903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015-400x531.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/bottlerock-napa-2015-452x600.jpg 452w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/courtneybarnettmusic\">Courtney Barnett\u003c/a>\u003c/strong> – “Pedestrian at Best”\u003cbr>\n\u003ca href=\"http://www.bottlerocknapavalley.com/\">\u003cstrong>BottleRock Napa Valley\u003c/strong>\u003c/a>\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nMay 29-31, 2015\u003cbr>\nBottleRock’s first year was infamously tumultuous, leaving in its wake unpaid debts and plenty of controversy. An ownership change led to a revitalized event in 2014, and 2015 finds the festival returning with 70+ bands. The lineup is less indie-oriented than most of the fests in this mix, but still offers plenty of potential highlights. It’s especially promising for foodies, with a “Culinary Stage” that will feature “celebrated chefs, vintners, actors, professional athletes and sommeliers participating in entertaining demos, performances, and other hijinx.” (On Sunday, Snoop Dogg mixes it up with chef Masaharu Morimoto.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015.jpg\" alt=\"Burger Boogaloo 2015 Poster\" width=\"673\" height=\"792\" class=\"alignnone size-full wp-image-10677896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015.jpg 673w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015-400x471.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/burger-boogaloo-2015-510x600.jpg 510w\" sizes=\"(max-width: 673px) 100vw, 673px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/The-Gories-official/274813555900045\">The Gories\u003c/a>\u003c/strong> – “On The Run”\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">\u003cstrong>Burger Boogaloo\u003c/strong>\u003c/a>\u003cbr>\nMosswood Park, Oakland\u003cbr>\nJuly 4-5, 2015\u003cbr>\nGarage rock fans can’t miss the 2015 Burger Boogaloo, celebrating the genre’s surprising diversity with two days of performances hosted by the legendary John Waters. It’s a stacked lineup, with reunited groups like the Mummies and the Gories alongside some of today’s most rocking bands, including Fuzz, the Gooch Palms, and Shannon & The Clams — and rare local gigs by Japanese bands the 5.6.7.8’s and Thunderroads. Beyond the music, there’s also the location: the Mosswood Park bandshell is a secluded gem, making it the perfect oasis for rock ‘n’ roll aficionados.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015.jpg\" alt=\"Outside Lands 2015 Poster\" width=\"800\" height=\"944\" class=\"alignnone size-full wp-image-10677902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015-400x472.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Outside-Lands-2015-508x600.jpg 508w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/toroymoi\">Toro Y Moi\u003c/a>\u003c/strong> – “Run Baby Run”\u003cbr>\n\u003ca href=\"http://www.sfoutsidelands.com/\">\u003cstrong>Outside Lands Music and Arts Festival\u003c/strong>\u003c/a>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nAugust 7-9, 2015\u003cbr>\nWhat new can be said about Outside Lands? Festival passes sold out in the blink of an eye this year, a testament to the event’s consistently high quality. In addition to the big names one expects at a festival of this size, Outside Lands 2015 once again features some stellar locals — Fantastic Negrito, The Sam Chase, Giraffage and more. Plus, the organizers do a killer job on food, wine and beer, making it truly a major music festival fit for San Franciscans. Outside Lands has been around for less than a decade, but it’s difficult to imagine a summer without it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Huichica-2015.jpg\" alt=\"Huichica 2015 Poster\" width=\"600\" height=\"920\" class=\"alignnone size-full wp-image-10677898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Huichica-2015.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Huichica-2015-400x613.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Huichica-2015-391x600.jpg 391w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/amendunes\">Amen Dunes\u003c/a>\u003c/strong> – “Song To The Siren”\u003cbr>\n\u003ca href=\"http://huichica.com/\">\u003cstrong>Huichica Festival\u003c/strong>\u003c/a>\u003cbr>\nGundlach Bundschu Winery, Sonoma\u003cbr>\nJune 12-13, 2015\u003cbr>\nNorth Bay music fans already know about Gundlach-Bundschu winery’s frequent concerts, but Huichica’s killer array of performers make it well worth the trip to Sonoma. Curated by Jeff Bundschu and Eric Johnson (of Fruit Bats and EDJ fame), the fest offers three stages of music over two days, with likely highlights including the welcome return of Bradford Cox’s Atlas Sound, shuffling psych-poppers Allah-Las, and the compelling singer-songwriter Jessica Pratt. Add plenty of tasty Gundlach-Bundschu wine on hand and Sonoma’s weather, and you’ve got a recipe for a couple of blissful days.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/stern-grove-2015.png\" alt=\"Stern Grove 2015\" width=\"1580\" height=\"783\" class=\"alignnone size-full wp-image-10677894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015.png 1580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-400x198.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-1180x585.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-960x476.png 960w\" sizes=\"(max-width: 1580px) 100vw, 1580px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/zakiyaharrismusic\">Zakiya Harris\u003c/a>\u003c/strong> – “Shape Shifter”\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/\">\u003cstrong>Stern Grove Festival\u003c/strong>\u003c/a>\u003cbr>\nStern Grove, San Francisco\u003cbr>\nSundays from June 14-August 16\u003cbr>\nThe Stern Grove Festival could probably just coast on the promise of free concerts in its gorgeous grove and still get large audiences. Instead, top-notch booking every year makes Stern Grove’s free Sunday concerts throughout the summer an extremely popular treat. As usual, Stern Grove’s 78th season traverses a variety of genres; while we’re definitely excited about tUnE-yArDs’ performance on July 19, it’s great to see plenty of talented Bay Area acts, like the California Honeydrops, Con Brio, and Zakiya Harris, appearing throughout the season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015.jpg\" alt=\"Live 105 BFD 2015 Poster\" width=\"576\" height=\"813\" class=\"alignnone size-full wp-image-10677897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Live-105-BFD-2015-425x600.jpg 425w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterswaters\">WATERS\u003c/a>\u003c/strong> – “I Feel Everything”\u003cbr>\n\u003ca href=\"http://live105.cbslocal.com/show/bfd/\">\u003cstrong>BFD 2015\u003c/strong>\u003c/a>\u003cbr>\nShoreline Amphitheatre, Mountain View\u003cbr>\nJune 6, 2015\u003cbr>\nLive 105 has been producing BFD for 21 years now, and the 2015 festival boasts a strong lineup across four stages. Modest Mouse and Of Monsters and Men may be the top names, but there are a ton of stellar Bay Area bands peppered throughout, like Cathedrals, K.Flay, WATERS, the Family Crest, and Andrew St. James. Very impressive, and a testament to Live 105’s continued support of the local scene.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015.jpg\" alt=\"Fat Wreck Chords 2015 Poster\" width=\"960\" height=\"960\" class=\"alignnone size-full wp-image-10677899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Fat-Wreck-Chords-2015-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/swinginutters\">Swingin’ Utters\u003c/a>\u003c/strong> – “I’m Not Coming Home”\u003cbr>\n\u003ca href=\"http://www.fatwreck.com/news/detail/829\">\u003cstrong>Fat Wreck Chords’ “Fat Wrecked for 25 Years”\u003c/strong>\u003c/a>\u003cbr>\nTBA, San Francisco\u003cbr>\nAugust 22-23, 2015\u003cbr>\nSan Francisco record label Fat Wreck Chords commemorates 25 years — a remarkable achievement well worth celebrating — with a North American tour that culminates in a two-day festival in San Francisco. Details are currently a little sparse on the SF fest, including the exact location, but expect performances from label honcho Fat Mike’s NOFX, punk mainstays Lagwagon and Swingin’ Utters, and newer Fat acts like toyGuitar and Bad Cop/Bad Cop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015.jpg\" alt=\"Deathstock I 2015 Poster\" width=\"566\" height=\"960\" class=\"alignnone size-full wp-image-10677901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015.jpg 566w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015-400x678.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Deathstock-I-2015-354x600.jpg 354w\" sizes=\"(max-width: 566px) 100vw, 566px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/smiles666\">Smiles\u003c/a>\u003c/strong> – “Sad Faces”\u003cbr>\n\u003ca href=\"http://www.longlivedeathrecords.com/deathstock-i/\">\u003cstrong>Deathstock I\u003c/strong>\u003c/a>\u003cbr>\nCamp Outback, Guerneville\u003cbr>\nJune 26-28, 2015\u003cbr>\nDeath Records — led by Brian Wakefield of bands Emotional and Melted Toys — has quietly put out a steady stream of excellent tapes over the last year, and the label is celebrating its one year anniversary with three days of music and camping in Guerneville. Unsurprisingly, it’s a lineup full of great bands, including Death Records artists like Smiles, Air Surgeon, Cole Lodge, and fellow local talents the Mantles, Danny James, CCR Headcleaner, and Sarah Bethe Nelson. Plus, the festival promises an appearance by Saturday Looks Good to Me’s Fred Thomas, who has a terrific new solo LP out now on Polyvinyl.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final.jpg\" alt=\"Phono del Sol 2015 Poster\" width=\"900\" height=\"1391\" class=\"alignnone size-full wp-image-10677904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Phono-del-Sol-2015-Poster-Final-763x1180.jpg 763w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MasYsa\">Mas Ysa\u003c/a>\u003c/strong> – “Margarita”\u003cbr>\n\u003ca href=\"http://www.phonodelsol.com\">\u003cstrong>Phono del Sol Music & Food Festival\u003c/strong>\u003c/a>\u003cbr>\nPotrero del Sol Park, San Francisco\u003cbr>\nJuly 11, 2015\u003cbr>\nOkay, we’re obviously more than a little biased about this festival, which, full disclosure, is produced by the Bay Bridged. But we’re very excited about Phono del Sol 2015: headliners Tanlines and King Tuff will join nine other local and touring acts like Sonny & The Sunsets and Generationals for an afternoon of music and fun in Potrero del Sol Park. Also along for the fest are eight local food trucks serving grub all day long, making it an all-around great way to spend a day in one of San Francisco’s most under-appreciated parks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "free-music-al-fresco-where-when-to-enjoy-the-sounds-of-summer",
"title": "Free Music Al Fresco: Where & When to Enjoy the Sounds of Summer",
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"content": "\u003cp>Once upon a time, when water used to fall from the sky with some regularity, the citizens of the Bay Area eagerly awaited the arrival of summer. \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>Stripping off their garments (or huddling under a blanket to ward off the fog) they gathered together in parks and amphitheaters to revel in the free sounds of acid rock bands and bluegrass combos, mean blues Stratocasters and Hindustani sitar masters. \u003c/p>\n\u003cp>In these strange winter-less times the advent of summer weather isn’t quite as tantalizing, but the season does afford many more opportunities to experience music outdoors, with a plethora of free festivals around the region.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10677894\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/stern-grove-2015-400x198.png\" alt=\"Stern Grove 2015\" width=\"400\" height=\"198\" class=\"size-thumbnail wp-image-10677894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-400x198.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-1180x585.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-960x476.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015.png 1580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">2015 Stern Grove Festival Flier\u003c/figcaption>\u003c/figure>\n\u003ch3>The Stern Grove Festival\u003c/h3>\n\u003ch5>June 14 – Aug. 16\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">The Stern Grove Festival is the granddaddy of free Bay Area concert series, a veritable San Francisco tradition that started when Franklin D. Roosevelt was campaigning for a second term. The Sunday afternoon shows usually feature a double bill with a headlining act and a local opener, and this year the festival has launched a new initiative, commissioning the Bay Area artists “to create a work of art inspired by the interplay between art, nature and audience.”\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_10650505\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CalifHoney-400x225.jpg\" alt=\"California Honeydrops\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10650505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney.jpg 1006w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The California Honeydrops (Photo: Keith Berson)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Stern Grove opens on June 14 with The Doobie Brothers and The California Honeydrops. Other festival highlights include a salsa program featuring the Grammy-winning Pacific Mambo Orchestra with special guests Sheila E., and Marlow Rosado with the Salsamania dance company (June 21). Trenchant songwriter Randy Newman heads a double bill with guitarist Paul Mehling’s Gypsy swing band Hot Club of San Francisco (June 28), and the SF-based traditional Hawaiian music and dance ensemble Halau ‘o Keikiali‘i open for Hawaiian vocal star Amy Hānaiali‘I (July 12).\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_1717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/tuneyards-400x309.jpg\" alt=\"tUnE-yArDs\" width=\"400\" height=\"309\" class=\"size-thumbnail wp-image-1717\">\u003cfigcaption class=\"wp-caption-text\">tUnE-yArDs \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Stern Grove’s most interesting double bill pairs Merrill Garbus’s avant pop project tUnE-yArDs with the Ukrainian avant-traditionalist quartet DakhaBrakha (July 19). And rapper Talib Kweli headlines a program with vocalist Zakiya Harris and Elephantine, a poly-groove band built around Harris’s “Afro-eclectic” sensibility (Aug. 16). All concerts begin at 2 p.m. at Sigmund Stern Grove at 19th Avenue and Sloat Boulevard in San Francisco’s Sunset district.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10678348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Andre-Thierry-400x267.jpg\" alt=\"Andre Thierry\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10678348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Andre Thierry\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003ch5>May 21 – Oct. 31\u003cbr>\n\u003ca href=\"http://www.ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Relative to Stern Grove, the Yerba Buena Gardens Festival is the new kid on the block, but for sheer variety and bountiful offerings, it’s the best entertainment value in the region. Running through late October, the 15th YBGF season feature some 100 free events, including music, theater, circus, dance, poetry, and children’s programs. Part of what makes the YBGF so intriguing is the mix of acts on tap, with a top-shelf Bay Area combo like zydeco master André Thierry playing one weekend (May 30) followed a few weeks later by an international touring act, like Cuban drum maestro Dafnis Prieto’s sextet from New York City (June 13).\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_10678350\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-400x286.jpg\" alt=\"Charming Hostess (Photo by Robin Hultgren)\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-10678350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-960x686.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Charming Hostess (Photo by Robin Hultgren)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Other YBGF highlights include Sao Paulo’s percussion-powered Bixiga 70 (June 20); the soul on soul Bay Area double bill of Elephantine and Bells Atlas (July 25); vocalist Jewlia Eisenberg’s funky, text-centric Balkan soul ensemble Charming Hostess (Au. 20); and the premiere of bassist/composer Marcus Shelby’s latest thematic work \u003cem>Beyond the Blues: A Prison Oratorio, \u003c/em>which was commissioned by the YBGF (September 27). All programs take place outdoors in Yerba Buena Gardens, off Mission Street between 3rd\u003csup> \u003c/sup>and 4th Streets.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10679641\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/ClaudiaVillela.jpg\" alt=\"Claudia Villela\" width=\"400\" height=\"546\" class=\"size-thumbnail wp-image-10679641\">\u003cfigcaption class=\"wp-caption-text\">Claudia Villela\u003c/figcaption>\u003c/figure>\n\u003ch3>Jazz on the Plazz\u003c/h3>\n\u003ch5>June 24 – Aug. 26\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Anyone who’s surprised that Los Gatos boasts one of the hippest free concert series in the Bay Area just hasn’t clued into where the cats like to hang out in the South Bay. The Silicon Valley town’s Jazz on the Plazz series brings leading improvisers to the Los Gatos Town Plaza every Wednesday evening from late June through August. This year’s program is billed as “The Summer of Sinatra” in honor of the centennial of Ol’ Blue Eyes and the roster does lean toward vocalists (but not necessarily crooners). The series opens with guitarist Slava Tolstoy’s stylistically expansive International String Trio plus rapidly rising LA violinist and vocalist Leah Zeger. The brilliant Brazilian jazz vocalist Claudia Villela, a long-time Bay Area resident, performs on July 8, and the Plazz series closes with Spencer Day, who spent several productive years on the San Francisco scene, with the Full Spectrum Jazz Orchestra (Aug. 26).\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10678352\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-400x320.jpg\" alt=\"Gaucho (Photo by Dave Ricketts)\" width=\"400\" height=\"320\" class=\"size-thumbnail wp-image-10678352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts.jpg 1831w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gaucho (Photo by Dave Ricketts)\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Jazz series at Stanford Shopping Center\u003c/h3>\n\u003ch5>June 18 – Aug. 20\u003cbr>\n\u003ca href=\"http://www.simon.com/mall/stanford-shopping-center/stream/29th-annual-summer-jazz-series-3188248\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">The 29\u003csup>th\u003c/sup> Annual Summer Jazz Series at the Stanford Shopping Center brings top Bay Area artists representing a variety of styles to the Courtyard between Nordstrom and Crate & Barrel on Thursday evenings from June through August, starting with a band assembled from Stanford Jazz Workshop faculty. Produced by SFJAZZ and emceed by Clifford Brown Jr., the series includes veteran jazz and blues singer Pamela Rose (July 16); smart and poised Berkeley-raised trumpeter Erik Jekabson’s quintet ( July 30); bassist Marcus Shelby persuasively swinging trio featuring vocalist Tiffany Austin, whose rapidly making a name for herself as one of the freshest new singers on the scene (Aug. 13); and Gaucho, a sleek Gypsy jazz-inspired combo that focuses on smart original compositions (Aug. 20).\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10682835\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-400x406.jpg\" alt=\"Mads Tolling Trio\" width=\"400\" height=\"406\" class=\"size-thumbnail wp-image-10682835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-591x600.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-1163x1180.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-1180x1197.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-960x974.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137.jpg 1916w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mads Tolling Trio\u003c/figcaption>\u003c/figure>\n\u003ch3>Kaiser Center Rooftop Garden Concerts\u003c/h3>\n\u003ch5>June 12 – Sept. 11\u003cbr>\n\u003ca href=\"http://kaisercenter.com/venues-roofgarden.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In what’s probably the best kept musical secret in the East Bay, the Kaiser Center in downtown Oakland presents a free concert series on its rooftop garden, a 3.5-acre urban oasis that’s open to the public on Fridays 8 am to 5 pm. And most Fridays from June 12 through Sept. 11, Roof Garden Concerts presents an array of free shows from noon to 1 p.m., from the Motown-style pop of West Grand Blvd (June 12) and the muscular jazz violin of the Mads Tolling Trio (June 26) to the Gypsy swing of guitarist Ned Boynton’s Café Americain (July 17) and the lilting steel drums of St. Lucia native Harry Best and Shebang! (Sept. 11).\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10682980\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281-400x292.jpg\" alt=\"Snap Jackson & the Knock on Wood Players \" width=\"400\" height=\"292\" class=\"size-thumbnail wp-image-10682980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281.jpg 957w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snap Jackson & the Knock on Wood Players\u003c/figcaption>\u003c/figure>\n\u003ch3>Music In the Park\u003c/h3>\n\u003ch5>June 24 – Aug. 19\u003cbr>\n\u003ca href=\"http://www.redwoodcity.org/events/musicinthepark.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Redwood City’s Music In the Park brings a similarly eclectic mix of sounds to Stafford Park on Wednesday evenings for most of the summer, including Stockton’s Americana quartet Snap Jackson & The Knock on Wood Players (June 24), the horn-powered jump blues of Lost Dog Found (July 8), the torchy blues of Lara Price (July 22), and the roots rock of Houston Jones (Aug. 12).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10684856\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-400x274.jpg\" alt=\"Zydeco Flames\" width=\"400\" height=\"274\" class=\"size-thumbnail wp-image-10684856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-960x658.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147.jpg 1919w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zydeco Flames\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Sounds Concert Series \u003c/h3>\n\u003ch5>June 3 – Aug. 26\u003cbr>\n\u003ca href=\"http://www.oaklandcitycenter.com/events\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Oakland City Center’s Summer Sounds Concert Series brings free music to the City Center Plaza Stage at 13\u003csup>th\u003c/sup> and Broadway on Wednesdays, from noon to 1pm this summer, including powerhouse Cuban \u003cem>sonero\u003c/em> Fito Reinoso (June 24), the Zydeco Flames (July 15), Tower of Power trumpet great Mic Gillette’s band (July 22), and suave swing-oriented trombonist, pianist, vocalist and songwriter Tim Hockenberry (Aug. 19).\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The cost of living in the Bay Area might be exploding, but there’s no shortage of amazing free music on tap this summer. Here’s a guide to the region’s best outdoor concert series, events that won’t put a dent in your wallet.",
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"title": "Free Music Al Fresco: Where & When to Enjoy the Sounds of Summer | KQED",
"description": "The cost of living in the Bay Area might be exploding, but there’s no shortage of amazing free music on tap this summer. Here’s a guide to the region’s best outdoor concert series, events that won’t put a dent in your wallet.",
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"headline": "Free Music Al Fresco: Where & When to Enjoy the Sounds of Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once upon a time, when water used to fall from the sky with some regularity, the citizens of the Bay Area eagerly awaited the arrival of summer. \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>Stripping off their garments (or huddling under a blanket to ward off the fog) they gathered together in parks and amphitheaters to revel in the free sounds of acid rock bands and bluegrass combos, mean blues Stratocasters and Hindustani sitar masters. \u003c/p>\n\u003cp>In these strange winter-less times the advent of summer weather isn’t quite as tantalizing, but the season does afford many more opportunities to experience music outdoors, with a plethora of free festivals around the region.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10677894\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/stern-grove-2015-400x198.png\" alt=\"Stern Grove 2015\" width=\"400\" height=\"198\" class=\"size-thumbnail wp-image-10677894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-400x198.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-1180x585.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015-960x476.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/stern-grove-2015.png 1580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">2015 Stern Grove Festival Flier\u003c/figcaption>\u003c/figure>\n\u003ch3>The Stern Grove Festival\u003c/h3>\n\u003ch5>June 14 – Aug. 16\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">The Stern Grove Festival is the granddaddy of free Bay Area concert series, a veritable San Francisco tradition that started when Franklin D. Roosevelt was campaigning for a second term. The Sunday afternoon shows usually feature a double bill with a headlining act and a local opener, and this year the festival has launched a new initiative, commissioning the Bay Area artists “to create a work of art inspired by the interplay between art, nature and audience.”\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_10650505\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CalifHoney-400x225.jpg\" alt=\"California Honeydrops\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10650505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CalifHoney.jpg 1006w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The California Honeydrops (Photo: Keith Berson)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Stern Grove opens on June 14 with The Doobie Brothers and The California Honeydrops. Other festival highlights include a salsa program featuring the Grammy-winning Pacific Mambo Orchestra with special guests Sheila E., and Marlow Rosado with the Salsamania dance company (June 21). Trenchant songwriter Randy Newman heads a double bill with guitarist Paul Mehling’s Gypsy swing band Hot Club of San Francisco (June 28), and the SF-based traditional Hawaiian music and dance ensemble Halau ‘o Keikiali‘i open for Hawaiian vocal star Amy Hānaiali‘I (July 12).\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_1717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/tuneyards-400x309.jpg\" alt=\"tUnE-yArDs\" width=\"400\" height=\"309\" class=\"size-thumbnail wp-image-1717\">\u003cfigcaption class=\"wp-caption-text\">tUnE-yArDs \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Stern Grove’s most interesting double bill pairs Merrill Garbus’s avant pop project tUnE-yArDs with the Ukrainian avant-traditionalist quartet DakhaBrakha (July 19). And rapper Talib Kweli headlines a program with vocalist Zakiya Harris and Elephantine, a poly-groove band built around Harris’s “Afro-eclectic” sensibility (Aug. 16). All concerts begin at 2 p.m. at Sigmund Stern Grove at 19th Avenue and Sloat Boulevard in San Francisco’s Sunset district.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10678348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Andre-Thierry-400x267.jpg\" alt=\"Andre Thierry\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10678348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Andre-Thierry.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Andre Thierry\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003ch5>May 21 – Oct. 31\u003cbr>\n\u003ca href=\"http://www.ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Relative to Stern Grove, the Yerba Buena Gardens Festival is the new kid on the block, but for sheer variety and bountiful offerings, it’s the best entertainment value in the region. Running through late October, the 15th YBGF season feature some 100 free events, including music, theater, circus, dance, poetry, and children’s programs. Part of what makes the YBGF so intriguing is the mix of acts on tap, with a top-shelf Bay Area combo like zydeco master André Thierry playing one weekend (May 30) followed a few weeks later by an international touring act, like Cuban drum maestro Dafnis Prieto’s sextet from New York City (June 13).\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_10678350\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-400x286.jpg\" alt=\"Charming Hostess (Photo by Robin Hultgren)\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-10678350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/CharmingHostess-creditRobinHultgren-960x686.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Charming Hostess (Photo by Robin Hultgren)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Other YBGF highlights include Sao Paulo’s percussion-powered Bixiga 70 (June 20); the soul on soul Bay Area double bill of Elephantine and Bells Atlas (July 25); vocalist Jewlia Eisenberg’s funky, text-centric Balkan soul ensemble Charming Hostess (Au. 20); and the premiere of bassist/composer Marcus Shelby’s latest thematic work \u003cem>Beyond the Blues: A Prison Oratorio, \u003c/em>which was commissioned by the YBGF (September 27). All programs take place outdoors in Yerba Buena Gardens, off Mission Street between 3rd\u003csup> \u003c/sup>and 4th Streets.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10679641\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/ClaudiaVillela.jpg\" alt=\"Claudia Villela\" width=\"400\" height=\"546\" class=\"size-thumbnail wp-image-10679641\">\u003cfigcaption class=\"wp-caption-text\">Claudia Villela\u003c/figcaption>\u003c/figure>\n\u003ch3>Jazz on the Plazz\u003c/h3>\n\u003ch5>June 24 – Aug. 26\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Anyone who’s surprised that Los Gatos boasts one of the hippest free concert series in the Bay Area just hasn’t clued into where the cats like to hang out in the South Bay. The Silicon Valley town’s Jazz on the Plazz series brings leading improvisers to the Los Gatos Town Plaza every Wednesday evening from late June through August. This year’s program is billed as “The Summer of Sinatra” in honor of the centennial of Ol’ Blue Eyes and the roster does lean toward vocalists (but not necessarily crooners). The series opens with guitarist Slava Tolstoy’s stylistically expansive International String Trio plus rapidly rising LA violinist and vocalist Leah Zeger. The brilliant Brazilian jazz vocalist Claudia Villela, a long-time Bay Area resident, performs on July 8, and the Plazz series closes with Spencer Day, who spent several productive years on the San Francisco scene, with the Full Spectrum Jazz Orchestra (Aug. 26).\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10678352\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-400x320.jpg\" alt=\"Gaucho (Photo by Dave Ricketts)\" width=\"400\" height=\"320\" class=\"size-thumbnail wp-image-10678352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Gaucho-photo-Dave-Ricketts.jpg 1831w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gaucho (Photo by Dave Ricketts)\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Jazz series at Stanford Shopping Center\u003c/h3>\n\u003ch5>June 18 – Aug. 20\u003cbr>\n\u003ca href=\"http://www.simon.com/mall/stanford-shopping-center/stream/29th-annual-summer-jazz-series-3188248\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">The 29\u003csup>th\u003c/sup> Annual Summer Jazz Series at the Stanford Shopping Center brings top Bay Area artists representing a variety of styles to the Courtyard between Nordstrom and Crate & Barrel on Thursday evenings from June through August, starting with a band assembled from Stanford Jazz Workshop faculty. Produced by SFJAZZ and emceed by Clifford Brown Jr., the series includes veteran jazz and blues singer Pamela Rose (July 16); smart and poised Berkeley-raised trumpeter Erik Jekabson’s quintet ( July 30); bassist Marcus Shelby persuasively swinging trio featuring vocalist Tiffany Austin, whose rapidly making a name for herself as one of the freshest new singers on the scene (Aug. 13); and Gaucho, a sleek Gypsy jazz-inspired combo that focuses on smart original compositions (Aug. 20).\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10682835\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-400x406.jpg\" alt=\"Mads Tolling Trio\" width=\"400\" height=\"406\" class=\"size-thumbnail wp-image-10682835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-591x600.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-1163x1180.jpg 1163w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-1180x1197.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-960x974.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MTT-In-front-of-Lawn-e1432278849137.jpg 1916w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mads Tolling Trio\u003c/figcaption>\u003c/figure>\n\u003ch3>Kaiser Center Rooftop Garden Concerts\u003c/h3>\n\u003ch5>June 12 – Sept. 11\u003cbr>\n\u003ca href=\"http://kaisercenter.com/venues-roofgarden.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In what’s probably the best kept musical secret in the East Bay, the Kaiser Center in downtown Oakland presents a free concert series on its rooftop garden, a 3.5-acre urban oasis that’s open to the public on Fridays 8 am to 5 pm. And most Fridays from June 12 through Sept. 11, Roof Garden Concerts presents an array of free shows from noon to 1 p.m., from the Motown-style pop of West Grand Blvd (June 12) and the muscular jazz violin of the Mads Tolling Trio (June 26) to the Gypsy swing of guitarist Ned Boynton’s Café Americain (July 17) and the lilting steel drums of St. Lucia native Harry Best and Shebang! (Sept. 11).\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10682980\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281-400x292.jpg\" alt=\"Snap Jackson & the Knock on Wood Players \" width=\"400\" height=\"292\" class=\"size-thumbnail wp-image-10682980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Snap-Jackson-e1432278974281.jpg 957w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snap Jackson & the Knock on Wood Players\u003c/figcaption>\u003c/figure>\n\u003ch3>Music In the Park\u003c/h3>\n\u003ch5>June 24 – Aug. 19\u003cbr>\n\u003ca href=\"http://www.redwoodcity.org/events/musicinthepark.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Redwood City’s Music In the Park brings a similarly eclectic mix of sounds to Stafford Park on Wednesday evenings for most of the summer, including Stockton’s Americana quartet Snap Jackson & The Knock on Wood Players (June 24), the horn-powered jump blues of Lost Dog Found (July 8), the torchy blues of Lara Price (July 22), and the roots rock of Houston Jones (Aug. 12).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10684856\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-400x274.jpg\" alt=\"Zydeco Flames\" width=\"400\" height=\"274\" class=\"size-thumbnail wp-image-10684856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147-960x658.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zydeco-Flames-Garbage-BW-e1432325718147.jpg 1919w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zydeco Flames\u003c/figcaption>\u003c/figure>\n\u003ch3>Summer Sounds Concert Series \u003c/h3>\n\u003ch5>June 3 – Aug. 26\u003cbr>\n\u003ca href=\"http://www.oaklandcitycenter.com/events\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Oakland City Center’s Summer Sounds Concert Series brings free music to the City Center Plaza Stage at 13\u003csup>th\u003c/sup> and Broadway on Wednesdays, from noon to 1pm this summer, including powerhouse Cuban \u003cem>sonero\u003c/em> Fito Reinoso (June 24), the Zydeco Flames (July 15), Tower of Power trumpet great Mic Gillette’s band (July 22), and suave swing-oriented trombonist, pianist, vocalist and songwriter Tim Hockenberry (Aug. 19).\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Songs That Made Us Smart: How Music Improved Our Vocabulary",
"headTitle": "Songs That Made Us Smart: How Music Improved Our Vocabulary | KQED",
"content": "\u003cp>Is popular music getting dumber? Yesterday, \u003ca href=\"http://www.seatsmart.com/blog/lyric-intelligence/\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> released by Andrew Powell-Morse confirmed what most of us already know: that when it comes to lyrics of hit songs, well, it ain’t exactly Shakespeare.\u003c/p>\n\u003cp>Morse’s study concludes, after analyzing 225 songs that spent more than three weeks atop the Billboard charts for Pop, Country, Rock, and R&B/Hip-Hop in the past decade, that the average hit song is \u003ca href=\"http://consequenceofsound.net/2015/05/the-lyrics-of-recent-no-1-singles-average-at-a-third-grade-reading-level/\" target=\"_blank\" rel=\"noopener\">written at a third-grade reading level\u003c/a>.\u003c/p>\n\u003cp>Around KQED, this got us talking about how songs actually educate us, as well, serving as adjunct professors of vocabulary for our curious ears. Think about it: how many words do you use today because some clever songwriter decided to include them in a song? From the mystifying “semolina” in the Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=7r52ZBx0KMI\" target=\"_blank\" rel=\"noopener\">I am the Walrus\u003c/a>,” to Fugazi’s use of “langour” in “\u003ca href=\"https://www.youtube.com/watch?v=gzC0RNkBXM0\" target=\"_blank\" rel=\"noopener\">Turnover\u003c/a>,” there are certain words that I know I’ll always associate with songs — ones that caused me to immediately run to the dictionary to unfold their meanings.\u003c/p>\n\u003cp>Below, some examples of words we’ve learned from our earbuds. What are yours?\u003c/p>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Emma Silvers\u003c/i>\u003cbr> Do List Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Anesthetize” — Elvis Costello, “Radio, Radio”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pG-Lq6Kc-rQ\u003c/p>\n\u003cp>Already one of the most danceable take-downs of the music industry’s payola-driven underbelly ever written, Costello’s “Radio Radio,” off his 1978 record \u003cem>This Year’s Model\u003c/em>, got an extra jolt of flipped-bird appeal thanks to the singer’s unscheduled performance of it on \u003cem>Saturday Night Live\u003c/em> — a stunt that got him banned from the show for the next 12 years. (He was eventually, and amusingly, \u003ca href=\"https://www.youtube.com/watch?v=0E6fvVaVgOQ\" target=\"_blank\" rel=\"noopener\">allowed back\u003c/a>.) But it was Costello’s ability to make the clunky word “anesthetize” roll off the tongue in a lyric so full of venom he might as well have been spitting it out for his own safety that appealed to my ears as a seventh grader, when I first started making my way through the history of political, punk-inflected British new wave. “You either shut up or get cut up / they don’t wanna hear about it / It’s only inches on the reel-to-reel / And the radio is in the hands of such a lot of fools / tryin’ to anesthetize the way that you feel.” Condemning the corporate media machine and padding a 12-year-old’s vocabulary: What’s not to love?\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Reciprocity” — Lauryn Hill, “Ex-Factor”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=cE-bnWqLqxE\u003c/p>\n\u003cp class=\"p1\">As an album, the incomparable 1998 debut \u003cem>The Miseducation of Lauryn Hill\u003c/em> will always mark the point, 13 years old, when I started actively buying my own music funded by the sudden influx of babysitting cash. Now, I hear Lauryn sing “Tell me who I have to be / to gain some reciprocity?” and my heart aches for her — but back then I’d never heard the word “reciprocity,” and my ears registered it as “red surprised tea.” I thought it was maybe an American thing, and asked my mum. To this day it remains one of my very favorite, gorgeously sibilant words to say.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Nihilism” — Rancid, “Nihilism”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ilg_16c-KXw\u003c/p>\n\u003cp class=\"p1\">Probably the strangest word to ever be used for the chorus of a punk rock track, but like any good punk song, the word isn’t sung — it’s shouted. When I heard it, I don’t think I tried to use it because, well, how often do you throw around “nihilism” in casual conversation? And if you look at the \u003ca href=\"http://www.azlyrics.com/lyrics/rancid/nihilism.html\" target=\"_blank\" rel=\"noopener\">full lyrics\u003c/a> of this catchy-and-fast-as-heck rocker, there’s not much discussion of philosophy, morality or even despair — it’s just about a dude drinking too much and feeling sad. But the word comes up in the song so much that the most braindead of gutter punks will wonder what the heck it means, and they might have even reached for a dictionary, like I did.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DanBrekke.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Dan Brekke\u003c/i>\u003cbr> News Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED News\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Windscreen” — The Rolling Stones, “Get Off My Cloud”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=O3F4GmbHl5g&feature=youtu.be\u003c/p>\n\u003cp class=\"p1\">I officially discovered Top 40 radio — WLS, in my hometown of Chicago — in the fall of 1965. With proper respect for the misleading specificity of memory, I think the first song that I felt really compelled to sing along with was “Get Off of My Cloud,” by the Rolling Stones. That exposed me to the notion that there was a language out there that sounded like English but was somehow different from what I was used to. The foreignness of key words along with Mick Jagger’s delivery meant that I could only fake most of the lyrics. Eventually, I figured out that “block” meant “apartment building” in British, “pounds” were the money they spent over there in Great Britain, the “Union Jack” was a flag, and “windscreen” was the British-ism for windshield. It was like a social studies class — and it’s still a great song. \u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Devious” — Eric B. and Rakim, “Paid in Full”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=b6aAFkP0BGU\u003c/p>\n\u003cp class=\"p1\">In hip-hop, it’d be tempting to pick a word out of Aesop Rock’s vast catalog — after all, he was named the rapper with the highest vocabulary in \u003ca href=\"http://experiments.undercurrent.com/\" target=\"_blank\" rel=\"noopener\">a recent analysis of hip-hop lyrics\u003c/a> — but I can’t lie: I was 12 when “Paid in Full” came out, and I rewound it over and over, listening intensely so I could write down all the lyrics. “I used to be a stick-up kid / So I think of all the devious things I did” isn’t the greatest couplet in the song, but the word “devious” had me stumped enough to look up its definition. When you’re 12 and you find out what “devious” means, it’s a pre-adolescent revelation: all you want in life, from that point on, is to be devious. \u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/ChloeVeltman.jpg\" alt=\"Chloe Veltman\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chloe Veltman\u003c/i>\u003cbr> Senior Editor, \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Wuthering” — Kate Bush, “Wuthering Heights”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BW3gKKiTvjs\u003c/p>\n\u003cp class=\"p1\">British songstress Kate Bush was 18 years old when she wrote this song, her first hit, based on Emily Bronte’s famous novel of demonic, haunting passions set in northern England. I was just starting elementary school when the song was released in 1978, and I thought Bush looked like a sorceress with a voice to match. My friend Esther and I used to sing the chorus in the schoolyard in cackling, witchy trebles. (I am embarrassed now to think about our bad imitations of Bush’s athletic, careening voice.) One day, I stopped mid-screech and said: “Wait, what’s ‘wuthering’?” Esther shrugged. Then she said: “It’s like ‘withering,’ only with a northern accent.” That night I asked my dad. I learned that ‘wuthering’ means blustery and windswept, like the northern moors upon which Bronte’s story takes place. So in a sense Esther was correct — the word does, in a way, have a northern accent. \u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "In light of a recent study about dumbed-down pop lyrics, the KQED Arts gang recalls songs that actually added certain words to their vocabularies.",
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"description": "In light of a recent study about dumbed-down pop lyrics, the KQED Arts gang recalls songs that actually added certain words to their vocabularies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Is popular music getting dumber? Yesterday, \u003ca href=\"http://www.seatsmart.com/blog/lyric-intelligence/\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> released by Andrew Powell-Morse confirmed what most of us already know: that when it comes to lyrics of hit songs, well, it ain’t exactly Shakespeare.\u003c/p>\n\u003cp>Morse’s study concludes, after analyzing 225 songs that spent more than three weeks atop the Billboard charts for Pop, Country, Rock, and R&B/Hip-Hop in the past decade, that the average hit song is \u003ca href=\"http://consequenceofsound.net/2015/05/the-lyrics-of-recent-no-1-singles-average-at-a-third-grade-reading-level/\" target=\"_blank\" rel=\"noopener\">written at a third-grade reading level\u003c/a>.\u003c/p>\n\u003cp>Around KQED, this got us talking about how songs actually educate us, as well, serving as adjunct professors of vocabulary for our curious ears. Think about it: how many words do you use today because some clever songwriter decided to include them in a song? From the mystifying “semolina” in the Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=7r52ZBx0KMI\" target=\"_blank\" rel=\"noopener\">I am the Walrus\u003c/a>,” to Fugazi’s use of “langour” in “\u003ca href=\"https://www.youtube.com/watch?v=gzC0RNkBXM0\" target=\"_blank\" rel=\"noopener\">Turnover\u003c/a>,” there are certain words that I know I’ll always associate with songs — ones that caused me to immediately run to the dictionary to unfold their meanings.\u003c/p>\n\u003cp>Below, some examples of words we’ve learned from our earbuds. What are yours?\u003c/p>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Emma Silvers\u003c/i>\u003cbr> Do List Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Anesthetize” — Elvis Costello, “Radio, Radio”\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/pG-Lq6Kc-rQ'\n title='//www.youtube.com/embed/pG-Lq6Kc-rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Already one of the most danceable take-downs of the music industry’s payola-driven underbelly ever written, Costello’s “Radio Radio,” off his 1978 record \u003cem>This Year’s Model\u003c/em>, got an extra jolt of flipped-bird appeal thanks to the singer’s unscheduled performance of it on \u003cem>Saturday Night Live\u003c/em> — a stunt that got him banned from the show for the next 12 years. (He was eventually, and amusingly, \u003ca href=\"https://www.youtube.com/watch?v=0E6fvVaVgOQ\" target=\"_blank\" rel=\"noopener\">allowed back\u003c/a>.) But it was Costello’s ability to make the clunky word “anesthetize” roll off the tongue in a lyric so full of venom he might as well have been spitting it out for his own safety that appealed to my ears as a seventh grader, when I first started making my way through the history of political, punk-inflected British new wave. “You either shut up or get cut up / they don’t wanna hear about it / It’s only inches on the reel-to-reel / And the radio is in the hands of such a lot of fools / tryin’ to anesthetize the way that you feel.” Condemning the corporate media machine and padding a 12-year-old’s vocabulary: What’s not to love?\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Reciprocity” — Lauryn Hill, “Ex-Factor”\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/cE-bnWqLqxE'\n title='//www.youtube.com/embed/cE-bnWqLqxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">As an album, the incomparable 1998 debut \u003cem>The Miseducation of Lauryn Hill\u003c/em> will always mark the point, 13 years old, when I started actively buying my own music funded by the sudden influx of babysitting cash. Now, I hear Lauryn sing “Tell me who I have to be / to gain some reciprocity?” and my heart aches for her — but back then I’d never heard the word “reciprocity,” and my ears registered it as “red surprised tea.” I thought it was maybe an American thing, and asked my mum. To this day it remains one of my very favorite, gorgeously sibilant words to say.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Nihilism” — Rancid, “Nihilism”\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/ilg_16c-KXw'\n title='//www.youtube.com/embed/ilg_16c-KXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Probably the strangest word to ever be used for the chorus of a punk rock track, but like any good punk song, the word isn’t sung — it’s shouted. When I heard it, I don’t think I tried to use it because, well, how often do you throw around “nihilism” in casual conversation? And if you look at the \u003ca href=\"http://www.azlyrics.com/lyrics/rancid/nihilism.html\" target=\"_blank\" rel=\"noopener\">full lyrics\u003c/a> of this catchy-and-fast-as-heck rocker, there’s not much discussion of philosophy, morality or even despair — it’s just about a dude drinking too much and feeling sad. But the word comes up in the song so much that the most braindead of gutter punks will wonder what the heck it means, and they might have even reached for a dictionary, like I did.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DanBrekke.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Dan Brekke\u003c/i>\u003cbr> News Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED News\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Windscreen” — The Rolling Stones, “Get Off My Cloud”\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/O3F4GmbHl5g'\n title='//www.youtube.com/embed/O3F4GmbHl5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">I officially discovered Top 40 radio — WLS, in my hometown of Chicago — in the fall of 1965. With proper respect for the misleading specificity of memory, I think the first song that I felt really compelled to sing along with was “Get Off of My Cloud,” by the Rolling Stones. That exposed me to the notion that there was a language out there that sounded like English but was somehow different from what I was used to. The foreignness of key words along with Mick Jagger’s delivery meant that I could only fake most of the lyrics. Eventually, I figured out that “block” meant “apartment building” in British, “pounds” were the money they spent over there in Great Britain, the “Union Jack” was a flag, and “windscreen” was the British-ism for windshield. It was like a social studies class — and it’s still a great song. \u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Devious” — Eric B. and Rakim, “Paid in Full”\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/b6aAFkP0BGU'\n title='//www.youtube.com/embed/b6aAFkP0BGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">In hip-hop, it’d be tempting to pick a word out of Aesop Rock’s vast catalog — after all, he was named the rapper with the highest vocabulary in \u003ca href=\"http://experiments.undercurrent.com/\" target=\"_blank\" rel=\"noopener\">a recent analysis of hip-hop lyrics\u003c/a> — but I can’t lie: I was 12 when “Paid in Full” came out, and I rewound it over and over, listening intensely so I could write down all the lyrics. “I used to be a stick-up kid / So I think of all the devious things I did” isn’t the greatest couplet in the song, but the word “devious” had me stumped enough to look up its definition. When you’re 12 and you find out what “devious” means, it’s a pre-adolescent revelation: all you want in life, from that point on, is to be devious. \u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/ChloeVeltman.jpg\" alt=\"Chloe Veltman\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chloe Veltman\u003c/i>\u003cbr> Senior Editor, \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Wuthering” — Kate Bush, “Wuthering Heights”\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/BW3gKKiTvjs'\n title='//www.youtube.com/embed/BW3gKKiTvjs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">British songstress Kate Bush was 18 years old when she wrote this song, her first hit, based on Emily Bronte’s famous novel of demonic, haunting passions set in northern England. I was just starting elementary school when the song was released in 1978, and I thought Bush looked like a sorceress with a voice to match. My friend Esther and I used to sing the chorus in the schoolyard in cackling, witchy trebles. (I am embarrassed now to think about our bad imitations of Bush’s athletic, careening voice.) One day, I stopped mid-screech and said: “Wait, what’s ‘wuthering’?” Esther shrugged. Then she said: “It’s like ‘withering,’ only with a northern accent.” That night I asked my dad. I learned that ‘wuthering’ means blustery and windswept, like the northern moors upon which Bronte’s story takes place. So in a sense Esther was correct — the word does, in a way, have a northern accent. \u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years",
"headTitle": "Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years | KQED",
"content": "\u003cp>“So, we come from this place called Gilman Street. It’s a club. It’s in Berkeley.”\u003c/p>\n\u003cp>That’s how Billie Joe Armstrong characterized his band in \u003ca href=\"http://www.rollingstone.com/music/news/green-day-thank-vans-fans-rock-roll-at-hall-of-fame-read-the-speech-20150418?page=5\" target=\"_blank\" rel=\"noopener\">a speech for Green Day’s induction into the Rock ‘n’ Roll Hall of Fame\u003c/a> last month. And last night, in an incredible, nearly two-hour set for less than a few hundred people, Green Day made a historic return to the stage at \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a> — the all-ages, non-profit club that famously served as the band’s early home.\u003c/p>\n\u003cp>Before set opener “99 Revolutions,” Armstrong reiterated what he’s said over and over again about the venue: “I really think of this place as a very important place to me,” he \u003ca href=\"https://www.youtube.com/watch?v=_1xQw8PHylw\" target=\"_blank\" rel=\"noopener\">intoned from the stage\u003c/a>, “and it’s in my heart forever.” (Earlier, bassist Mike Dirnt \u003ca href=\"https://instagram.com/p/2zQrP4NyyS/\" target=\"_blank\" rel=\"noopener\">referred to Gilman as “church.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10669570\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg\" alt=\"Green Day at 924 Gilman\" width=\"640\" height=\"457\" class=\"size-full wp-image-10669570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so Green Day’s set last night was more than just an ordinary show. Introduced by \u003ca href=\"http://en.wikipedia.org/wiki/Jello_Biafra\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a>, the band played a marathon setlist with plenty early material befitting the venue — deep cuts like “Paper Lanterns,” “2,000 Light Years Away,” “Only of You,” “Private Ale” and “Christie Road.” They brought up Tim Armstrong from Rancid for \u003ca href=\"https://instagram.com/p/2z4LUUSSbe/\" target=\"_blank\" rel=\"noopener\">a faithful version of “Knowledge”\u003c/a> by Operation Ivy. They joked with the crowd and each other, they extended the microphone to let a few of the many crowdsurfers sing, they swapped articles of clothing with fans, and left everyone inside the small room with shirts drenched in sweat and ears ringing.\u003c/p>\n\u003cp>In other words, it was pretty much like a typical Green Day show at Gilman in 1993. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nZz_Za4vW8\u003c/p>\n\u003cp>Green Day playing at Gilman is special. It’s like Springsteen playing the Stone Pony. It’s like the Ramones playing CBGB. Except for one key difference: because of 924 Gilman’s longstanding ban on major-label bands, Green Day hasn’t been allowed to play the one place most dear to their hearts for the past 21 years. They’ve talked about it in interviews, they’ve \u003ca href=\"https://www.youtube.com/watch?v=OCOfynekLvs\" target=\"_blank\" rel=\"noopener\">written songs\u003c/a> about it, and they’ve no doubt felt stung by it.\u003c/p>\n\u003cp>In fact, early in the night, I happened to be standing by Gilman’s side door and witnessed Tré Cool denied admittance by a large security guard, who didn’t recognize him and slammed the door in the drummer’s face for not having a wristband for the show. Yes, it was funny (“I just got dicked! Did you see that?” he exclaimed to those nearby, chuckling at the scene), but it was also a metaphor for how the club has treated its most famous alumni for the last two decades.\u003c/p>\n\u003cp>Last night was different — the show was a benefit for those affected by \u003ca href=\"http://ww2.kqed.org/news/2015/04/07/weeks-later-fatal-fire-in-west-oakland-still-hurts/\" target=\"_blank\" rel=\"noopener\">the March 21 fire in West Oakland\u003c/a> that killed two residents, displaced 34 others, and severely damaged both \u003ca href=\"http://www.akpress.org/\" target=\"_blank\" rel=\"noopener\">AK Press\u003c/a> and \u003ca href=\"http://www.1984printing.com/\" target=\"_blank\" rel=\"noopener\">1984 Printing\u003c/a>, publishing and printing companies well-known and loved in the punk scene. The membership of 924 Gilman voted to make a one-time exemption to the major-label ban for the benefit (a vote that “didn’t seem very controversial to the membership,” as Jesse Townley, long involved with the club, told me last night), and it was agreed that Green Day could play, billed as “Special Guests.”\u003c/p>\n\u003cp>Of course, word got out on who the special guests were. So when tickets went on sale, at $20 each, they were gone in under 10 seconds. \u003ca href=\"https://www.facebook.com/events/1589768671240089\" target=\"_blank\" rel=\"noopener\">Speculation swirled\u003c/a> that the tickets had been bought by bots created by Silicon Valley developers, and that the show might be full of tech bros.\u003c/p>\n\u003cfigure id=\"attachment_10669571\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg\" alt=\"Billie Joe Armstrong of Green Day at 924 Gilman\" width=\"457\" height=\"640\" class=\"size-full wp-image-10669571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But no — it was still the classic Gilman atmosphere, with the crowd goofily chanting “Nick-el-back! Nick-el-back!” before Green Day went on. Gilman history was represented, too, in the opening bands. \u003ca href=\"http://bobbyjoeebola.com/\" target=\"_blank\" rel=\"noopener\">Bobby Joe Ebola and the Children MacNuggits\u003c/a> featured \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\" target=\"_blank\" rel=\"noopener\">Operation Ivy\u003c/a>’s Dave Mello on drums, and a reunited \u003ca href=\"http://www.punknews.org/review/1251/the-enemies-seize-the-day\" target=\"_blank\" rel=\"noopener\">Enemies\u003c/a> had \u003ca href=\"http://en.wikipedia.org/wiki/Neurosis_%28band%29\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>’ Dave Edwardson on bass; both bands had plenty of fans singing along. Behind me in line to get inside was Richie Bucher, the artist, \u003ca href=\"https://www.youtube.com/watch?v=_J6ba-v_QgY\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">\u003cem>Cometbus\u003c/em>\u003c/a> regular who illustrated \u003ca href=\"http://www.wweek.com/portland/article-22020-where%E2%80%99s_angu.html\" target=\"_blank\" rel=\"noopener\">the iconic cover\u003c/a> of Green Day’s best-known album, \u003cem>Dookie\u003c/em>. And in the crowd, as Armstrong noted between songs, there were far more punks with mohawks than there ever were at the band’s Gilman shows in the early 1990s. \u003c/p>\n\u003cp>Armstrong also pinpointed the exact last show Green Day played at Gilman: “Sept. 6, 1993,” rattling it off like a memorized date from history class (and also commented that \u003ca href=\"https://www.youtube.com/watch?v=uABXKwkYiLI&list=PL46D56D34AAAEE875\" target=\"_blank\" rel=\"noopener\">Green Day hopping onstage in 2001\u003c/a> to do some songs on another band’s equipment “didn’t really count”). And although Armstrong \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">has played Gilman\u003c/a> twice with his other band Pinhead Gunpowder since then, last night truly was a different kind of homecoming.\u003c/p>\n\u003cp>Indeed, during the show’s closing block of \u003cem>American Idiot\u003c/em> songs — culminating in the epic “Jesus of Suburbia,” which Armstrong dedicated to everyone in West Contra Costa County — it seemed a given they’d play that Grammy-winning album’s “Homecoming,” which ends with the repeated refrain: “Home / We’re coming home again.”\u003c/p>\n\u003cp>Instead, they encored with “Minority,” slapped some high-fives to the crowd, jumped off the stage and out the side door, and piled into a black minivan with tinted windows and drove away. Ever to return? Time will tell, especially with the club’s \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">fundraising efforts\u003c/a> and \u003ca href=\"http://www.eastbayexpress.com/oakland/924-gilman-streets-alumni-donor-retention-program/Content?oid=4278773\" target=\"_blank\" rel=\"noopener\">current negotiations about the future of the building\u003c/a>.\u003c/p>\n\u003cp>But for Green Day — the prodigal sons of 924 Gilman — and for the few hundred people there to witness their return, it was a night to remember indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist:\u003c/strong>\u003c/p>\n\u003cp>99 Revolutions\u003cbr>\nHoliday\u003cbr>\nKnow Your Enemy\u003cbr>\nWelcome to Paradise\u003cbr>\n2,000 Light Years Away\u003cbr>\nPrivate Ale\u003cbr>\nChristie Road\u003cbr>\nPaper Lanterns\u003cbr>\nOnly of You\u003cbr>\nStuart and the Ave.\u003cbr>\nShe\u003cbr>\nGoing To Pasalacqua\u003cbr>\nBurnout\u003cbr>\nLongview\u003cbr>\nBasketcase\u003cbr>\nWhen I Come Around\u003cbr>\nAre We The Waiting\u003cbr>\nSt. Jimmy\u003cbr>\nAmerican Idiot\u003cbr>\nJesus Of Suburbia\u003cbr>\n–\u003cbr>\nMinority\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Benefit Info.:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\" rel=\"noopener\">Fire Relief for AK Press\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\" rel=\"noopener\">Fire Relief for 1984 Printing\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\" rel=\"noopener\">Fire Relief for Shipwreck Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">Fundraising for 924 Gilman\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“So, we come from this place called Gilman Street. It’s a club. It’s in Berkeley.”\u003c/p>\n\u003cp>That’s how Billie Joe Armstrong characterized his band in \u003ca href=\"http://www.rollingstone.com/music/news/green-day-thank-vans-fans-rock-roll-at-hall-of-fame-read-the-speech-20150418?page=5\" target=\"_blank\" rel=\"noopener\">a speech for Green Day’s induction into the Rock ‘n’ Roll Hall of Fame\u003c/a> last month. And last night, in an incredible, nearly two-hour set for less than a few hundred people, Green Day made a historic return to the stage at \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a> — the all-ages, non-profit club that famously served as the band’s early home.\u003c/p>\n\u003cp>Before set opener “99 Revolutions,” Armstrong reiterated what he’s said over and over again about the venue: “I really think of this place as a very important place to me,” he \u003ca href=\"https://www.youtube.com/watch?v=_1xQw8PHylw\" target=\"_blank\" rel=\"noopener\">intoned from the stage\u003c/a>, “and it’s in my heart forever.” (Earlier, bassist Mike Dirnt \u003ca href=\"https://instagram.com/p/2zQrP4NyyS/\" target=\"_blank\" rel=\"noopener\">referred to Gilman as “church.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10669570\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg\" alt=\"Green Day at 924 Gilman\" width=\"640\" height=\"457\" class=\"size-full wp-image-10669570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so Green Day’s set last night was more than just an ordinary show. Introduced by \u003ca href=\"http://en.wikipedia.org/wiki/Jello_Biafra\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a>, the band played a marathon setlist with plenty early material befitting the venue — deep cuts like “Paper Lanterns,” “2,000 Light Years Away,” “Only of You,” “Private Ale” and “Christie Road.” They brought up Tim Armstrong from Rancid for \u003ca href=\"https://instagram.com/p/2z4LUUSSbe/\" target=\"_blank\" rel=\"noopener\">a faithful version of “Knowledge”\u003c/a> by Operation Ivy. They joked with the crowd and each other, they extended the microphone to let a few of the many crowdsurfers sing, they swapped articles of clothing with fans, and left everyone inside the small room with shirts drenched in sweat and ears ringing.\u003c/p>\n\u003cp>In other words, it was pretty much like a typical Green Day show at Gilman in 1993. \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/9nZz_Za4vW8'\n title='//www.youtube.com/embed/9nZz_Za4vW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Green Day playing at Gilman is special. It’s like Springsteen playing the Stone Pony. It’s like the Ramones playing CBGB. Except for one key difference: because of 924 Gilman’s longstanding ban on major-label bands, Green Day hasn’t been allowed to play the one place most dear to their hearts for the past 21 years. They’ve talked about it in interviews, they’ve \u003ca href=\"https://www.youtube.com/watch?v=OCOfynekLvs\" target=\"_blank\" rel=\"noopener\">written songs\u003c/a> about it, and they’ve no doubt felt stung by it.\u003c/p>\n\u003cp>In fact, early in the night, I happened to be standing by Gilman’s side door and witnessed Tré Cool denied admittance by a large security guard, who didn’t recognize him and slammed the door in the drummer’s face for not having a wristband for the show. Yes, it was funny (“I just got dicked! Did you see that?” he exclaimed to those nearby, chuckling at the scene), but it was also a metaphor for how the club has treated its most famous alumni for the last two decades.\u003c/p>\n\u003cp>Last night was different — the show was a benefit for those affected by \u003ca href=\"http://ww2.kqed.org/news/2015/04/07/weeks-later-fatal-fire-in-west-oakland-still-hurts/\" target=\"_blank\" rel=\"noopener\">the March 21 fire in West Oakland\u003c/a> that killed two residents, displaced 34 others, and severely damaged both \u003ca href=\"http://www.akpress.org/\" target=\"_blank\" rel=\"noopener\">AK Press\u003c/a> and \u003ca href=\"http://www.1984printing.com/\" target=\"_blank\" rel=\"noopener\">1984 Printing\u003c/a>, publishing and printing companies well-known and loved in the punk scene. The membership of 924 Gilman voted to make a one-time exemption to the major-label ban for the benefit (a vote that “didn’t seem very controversial to the membership,” as Jesse Townley, long involved with the club, told me last night), and it was agreed that Green Day could play, billed as “Special Guests.”\u003c/p>\n\u003cp>Of course, word got out on who the special guests were. So when tickets went on sale, at $20 each, they were gone in under 10 seconds. \u003ca href=\"https://www.facebook.com/events/1589768671240089\" target=\"_blank\" rel=\"noopener\">Speculation swirled\u003c/a> that the tickets had been bought by bots created by Silicon Valley developers, and that the show might be full of tech bros.\u003c/p>\n\u003cfigure id=\"attachment_10669571\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg\" alt=\"Billie Joe Armstrong of Green Day at 924 Gilman\" width=\"457\" height=\"640\" class=\"size-full wp-image-10669571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But no — it was still the classic Gilman atmosphere, with the crowd goofily chanting “Nick-el-back! Nick-el-back!” before Green Day went on. Gilman history was represented, too, in the opening bands. \u003ca href=\"http://bobbyjoeebola.com/\" target=\"_blank\" rel=\"noopener\">Bobby Joe Ebola and the Children MacNuggits\u003c/a> featured \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\" target=\"_blank\" rel=\"noopener\">Operation Ivy\u003c/a>’s Dave Mello on drums, and a reunited \u003ca href=\"http://www.punknews.org/review/1251/the-enemies-seize-the-day\" target=\"_blank\" rel=\"noopener\">Enemies\u003c/a> had \u003ca href=\"http://en.wikipedia.org/wiki/Neurosis_%28band%29\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>’ Dave Edwardson on bass; both bands had plenty of fans singing along. Behind me in line to get inside was Richie Bucher, the artist, \u003ca href=\"https://www.youtube.com/watch?v=_J6ba-v_QgY\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">\u003cem>Cometbus\u003c/em>\u003c/a> regular who illustrated \u003ca href=\"http://www.wweek.com/portland/article-22020-where%E2%80%99s_angu.html\" target=\"_blank\" rel=\"noopener\">the iconic cover\u003c/a> of Green Day’s best-known album, \u003cem>Dookie\u003c/em>. And in the crowd, as Armstrong noted between songs, there were far more punks with mohawks than there ever were at the band’s Gilman shows in the early 1990s. \u003c/p>\n\u003cp>Armstrong also pinpointed the exact last show Green Day played at Gilman: “Sept. 6, 1993,” rattling it off like a memorized date from history class (and also commented that \u003ca href=\"https://www.youtube.com/watch?v=uABXKwkYiLI&list=PL46D56D34AAAEE875\" target=\"_blank\" rel=\"noopener\">Green Day hopping onstage in 2001\u003c/a> to do some songs on another band’s equipment “didn’t really count”). And although Armstrong \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">has played Gilman\u003c/a> twice with his other band Pinhead Gunpowder since then, last night truly was a different kind of homecoming.\u003c/p>\n\u003cp>Indeed, during the show’s closing block of \u003cem>American Idiot\u003c/em> songs — culminating in the epic “Jesus of Suburbia,” which Armstrong dedicated to everyone in West Contra Costa County — it seemed a given they’d play that Grammy-winning album’s “Homecoming,” which ends with the repeated refrain: “Home / We’re coming home again.”\u003c/p>\n\u003cp>Instead, they encored with “Minority,” slapped some high-fives to the crowd, jumped off the stage and out the side door, and piled into a black minivan with tinted windows and drove away. Ever to return? Time will tell, especially with the club’s \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">fundraising efforts\u003c/a> and \u003ca href=\"http://www.eastbayexpress.com/oakland/924-gilman-streets-alumni-donor-retention-program/Content?oid=4278773\" target=\"_blank\" rel=\"noopener\">current negotiations about the future of the building\u003c/a>.\u003c/p>\n\u003cp>But for Green Day — the prodigal sons of 924 Gilman — and for the few hundred people there to witness their return, it was a night to remember indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist:\u003c/strong>\u003c/p>\n\u003cp>99 Revolutions\u003cbr>\nHoliday\u003cbr>\nKnow Your Enemy\u003cbr>\nWelcome to Paradise\u003cbr>\n2,000 Light Years Away\u003cbr>\nPrivate Ale\u003cbr>\nChristie Road\u003cbr>\nPaper Lanterns\u003cbr>\nOnly of You\u003cbr>\nStuart and the Ave.\u003cbr>\nShe\u003cbr>\nGoing To Pasalacqua\u003cbr>\nBurnout\u003cbr>\nLongview\u003cbr>\nBasketcase\u003cbr>\nWhen I Come Around\u003cbr>\nAre We The Waiting\u003cbr>\nSt. Jimmy\u003cbr>\nAmerican Idiot\u003cbr>\nJesus Of Suburbia\u003cbr>\n–\u003cbr>\nMinority\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Benefit Info.:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\" rel=\"noopener\">Fire Relief for AK Press\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\" rel=\"noopener\">Fire Relief for 1984 Printing\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\" rel=\"noopener\">Fire Relief for Shipwreck Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">Fundraising for 924 Gilman\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Thrill is Gone: B.B. King Dies, and Here's His Greatest Moment on Record",
"headTitle": "The Thrill is Gone: B.B. King Dies, and Here’s His Greatest Moment on Record | KQED",
"content": "\u003cp>B.B. King, the 89-year-old legend of the blues, \u003ca href=\"http://variety.com/2015/music/news/blues-legend-b-b-king-dies-at-89-1201496991/\" target=\"_blank\" rel=\"noopener\">has died\u003c/a>.\u003c/p>\n\u003cp>The 89-year-old guitarist had been in hospice care since May 1, having reportedly been in poor health for many months previously. \u003c/p>\n\u003cp>And though his natural touch on the fretboard of “Lucille” has left this Earth, there’s one B.B. King moment that’ll live forever.\u003c/p>\n\u003cp>Cue the 1964 recording of \u003cem>Live at the Regal\u003c/em>, perhaps the greatest live blues album ever made. B.B. King, in top form, launches into the track “How Blue Can You Get?” — and brings the house down mid-song, at around 2:35.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pq-o9hr4vy0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I gave you a brand new Ford,” King sings, “but you said ‘I want a Cadillac’ / I bought you a ten-dollar dinner, and you said ‘Thanks for the snack’ / I let you live in my penthouse, you said it was just a shack.”\u003c/p>\n\u003cp>And then the almighty kicker: “I gave you seven children, and now you wanna give ’em back!”\u003c/p>\n\u003cp>On the recording, the crowd goes utterly wild. And no wonder — who else was addressing such wreckage of love in popular song at the time? (Certainly not the early Beatles, whose fluffy “I Want to Hold Your Hand” was the \u003ca href=\"http://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_1964\" target=\"_blank\" rel=\"noopener\">No. 1 hit song of 1964\u003c/a>.)\u003c/p>\n\u003cp>“How Blue Can You Get?” enjoyed a mild revival in the 1990s, as a sample in the Primitive Radio Gods’ one-hit-wonder “\u003ca href=\"https://www.youtube.com/watch?v=4XJxFAoiWSY\" target=\"blank\" rel=\"noopener\">Standing Outside a Broken Phone Booth with Money in My Hand\u003c/a>” — but to B.B. King fans, it remains his crowning moment in a live setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>B.B. King, whose contributions to the blues can hardly be overstated, leaves behind not seven children, as stated in the song, but a total of 15 children — by no less than 15 different women, \u003ca href=\"http://mobile.nytimes.com/2015/05/16/arts/music/b-b-king-blues-singer-dies-at-89.html?_r=0&referrer=\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>New York Times\u003c/em>\u003c/a>. (No wonder, then, that the alimony- and child support-beholden artist routinely played 200-300 shows each year.)\u003c/p>\n\n",
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"excerpt": "It's hard to pick a defining moment in the career of the King of the Blues -- but this 1964 performance encapsulates everything perfect about the one and only B.B. King.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>B.B. King, the 89-year-old legend of the blues, \u003ca href=\"http://variety.com/2015/music/news/blues-legend-b-b-king-dies-at-89-1201496991/\" target=\"_blank\" rel=\"noopener\">has died\u003c/a>.\u003c/p>\n\u003cp>The 89-year-old guitarist had been in hospice care since May 1, having reportedly been in poor health for many months previously. \u003c/p>\n\u003cp>And though his natural touch on the fretboard of “Lucille” has left this Earth, there’s one B.B. King moment that’ll live forever.\u003c/p>\n\u003cp>Cue the 1964 recording of \u003cem>Live at the Regal\u003c/em>, perhaps the greatest live blues album ever made. B.B. King, in top form, launches into the track “How Blue Can You Get?” — and brings the house down mid-song, at around 2:35.\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/Pq-o9hr4vy0'\n title='//www.youtube.com/embed/Pq-o9hr4vy0'\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>“I gave you a brand new Ford,” King sings, “but you said ‘I want a Cadillac’ / I bought you a ten-dollar dinner, and you said ‘Thanks for the snack’ / I let you live in my penthouse, you said it was just a shack.”\u003c/p>\n\u003cp>And then the almighty kicker: “I gave you seven children, and now you wanna give ’em back!”\u003c/p>\n\u003cp>On the recording, the crowd goes utterly wild. And no wonder — who else was addressing such wreckage of love in popular song at the time? (Certainly not the early Beatles, whose fluffy “I Want to Hold Your Hand” was the \u003ca href=\"http://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_1964\" target=\"_blank\" rel=\"noopener\">No. 1 hit song of 1964\u003c/a>.)\u003c/p>\n\u003cp>“How Blue Can You Get?” enjoyed a mild revival in the 1990s, as a sample in the Primitive Radio Gods’ one-hit-wonder “\u003ca href=\"https://www.youtube.com/watch?v=4XJxFAoiWSY\" target=\"blank\" rel=\"noopener\">Standing Outside a Broken Phone Booth with Money in My Hand\u003c/a>” — but to B.B. King fans, it remains his crowning moment in a live setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>B.B. King, whose contributions to the blues can hardly be overstated, leaves behind not seven children, as stated in the song, but a total of 15 children — by no less than 15 different women, \u003ca href=\"http://mobile.nytimes.com/2015/05/16/arts/music/b-b-king-blues-singer-dies-at-89.html?_r=0&referrer=\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>New York Times\u003c/em>\u003c/a>. (No wonder, then, that the alimony- and child support-beholden artist routinely played 200-300 shows each year.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jeremy Earl of Woods on Big Sur, the Byrds, and California Love",
"headTitle": "Jeremy Earl of Woods on Big Sur, the Byrds, and California Love | 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/woods/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Woods\u003c/h2>\n\u003cdiv class=\"event-desc\">Laid-back folk-rock purveyors.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/woods/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Woods may have been born in a Brooklyn bedroom, but more often than not they’re mistaken for having California roots. And for good reason: the band’s music, especially from their last two albums \u003cem>Bend Beyond\u003c/em> and \u003cem>With Light With Love\u003c/em>, leans toward \u003ca href=\"https://www.youtube.com/watch?v=D8SuI7BqKP0\">sunny,\u003c/a> shimmering, psych-folk rock that could have been birthed in Topanga Canyon, circa 1968.\u003c/p>\n\u003cp>“I grew up on the East Coast and I’ve never lived in California, but I’ve always been drawn to it, and feel a sort of spiritual connection which I think comes out in our music,” says Jeremy Earl, the 35-year-old songwriter who began Woods as a solo, lo-fi bedroom recording project in 2006. (He grew up in rural Warwick, New York, a place, appropriately, made up of woods and farmland.)\u003c/p>\n\u003cp>In fact, Earl counts the Byrds, a band which epitomizes the folk-rock sound that bloomed out of Los Angeles in the late sixties, among his favorites. When I confess that listening to Woods evokes a sense of nostalgia for me, how it brings up memories of listening over and over to my dad’s faded and crumbling vinyl copy of \u003cem>The Byrds Greatest Hits\u003c/em>, specifically\u003ca href=\"https://youtu.be/J74ttSR8lEg\"> “Eight Miles High,” \u003c/a>in my Southern California living room, Earl says: “That song most definitely makes my list of top ten songs of all time.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=X4GA9axMGUc&w=560&h=315]\u003c/p>\n\u003cp>“I got really deep into that kind of music years ago,” he explains. “Stemming off the Byrds, to Crosby, Stills, Nash & Young, New Riders of the Purple Sage, the Dead. Maybe a combination of all that is where the California connection comes from.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Early Woods recordings are the dictionary definition of lo-fi: stark, \u003ca href=\"https://www.youtube.com/watch?v=T8c58ifqmk0\">simple folk dirges\u003c/a> that stand out mainly for Earl’s distinctive high-pitched singing voice, like Neil Young might sound if he’d just walked 20 miles through a pounding rainstorm. A sound described by Pitchfork as \u003ca href=\"http://pitchfork.com/reviews/albums/12837-songs-of-shame/\">“spooky campfire rock” with “deceptively sturdy melodies\u003c/a>.”\u003c/p>\n\u003cp>By their fourth album, 2009’s \u003cem>Songs of Shame\u003c/em>, Woods had developed a (slightly) fuller style, especially on moments of lovely, compulsively listenable ramshackle pop like \u003ca href=\"https://youtu.be/L3Mou_LDvhY\">“Rain On\u003c/a>.” Guitarist and multi-instrumentalist Jarvis Taveniere had taken on a larger role in the group, which began to embrace the nine-minute long jams that would find a place on the next few albums.\u003c/p>\n\u003cp>\u003cem>Bend Beyond\u003c/em> and \u003cem>With Light and With Love\u003c/em> solidify this new version of Woods, now a full-fledged five-piece. The current touring lineup, along with Earl and Taveniere, includes Aaron Neveu, John Andrews, and Chuck Van Dyck. With the additional musicians, Woods has left behind the weirdo, off-kilter campfire sound for a lusher, pop-folk infused with that aforementioned Golden State glow.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=HV31xV2PA1I&w=560&h=315]\u003c/p>\n\u003cp>Earl says the move away from scratchy sound collages and muffled dirges was all very organic; they simply got better at what they do. “If you listen to our catalog, you can see that we’ve figured out whatever it is, certain aspects of recording,” he adds. “We’ve been stirring the pot for a while and cooking it down.”\u003c/p>\n\u003cp>They’ve also seen an increase in invitations to play festivals and bigger shows. This year, they’ll hit Sasquatch and Bonnaroo. But before festival madness descends, Woods arrives in the Bay Area for the annual \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2014-big-sur-2/\" target=\"_blank\" rel=\"noopener\">Woodsist Festival\u003c/a> in Big Sur, along with shows at \u003ca href=\"http://www.thechapelsf.com/event/814781-woods-san-francisco/\">the Chapel \u003c/a>on May 15 and at \u003ca href=\"http://www.ticketfly.com/event/796429\">Gundlach-Bundschu Winery \u003c/a>in Sonoma on May 19.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.woodsist.com/catalog/woodsist/woodsist-festival-2014-big-sur-2/\"> Woodist Festival\u003c/a>, sponsored by Earl’s record label by the same name, has become known for cultivating a kind of mini-Woodstock atmosphere for 21st-century flower children. The seeds for the event were planted seven years ago, Woods played an intimate show presented by \u003ca href=\"http://folkyeah.com/\">Folk Yeah\u003c/a> at the Henry Miller Library in Big Sur. Mesmerized by the redwood trees and proximity to the ocean, along with the mellow atmosphere, Earl decided it was his “ideal place on earth.”\u003c/p>\n\u003cp>“Everything about the experience blew my mind,” he says. The Woodsist Festival, featuring acts like Real Estate, Simon Joyner, and Little Wings, has now been going strong for six years, and Woods always make a point of scheduling their West Coast tours around the festival.\u003c/p>\n\u003cp>“Big Sur is very peaceful,” says Earl. “It takes us out of the normal show-and-festival environment. It makes the whole thing more about hanging out with the locals, and like-minded people, having a good time and relaxing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spoken like a true Californian – by way of Brooklyn, of course.\u003c/p>\n\n",
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"excerpt": "Is the most California-sounding band on the scene today actually from Brooklyn? Woods' hazy, folky psychedelic vibe might just make it so.",
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"description": "Is the most California-sounding band on the scene today actually from Brooklyn? Woods' hazy, folky psychedelic vibe might just make it so.",
"title": "Jeremy Earl of Woods on Big Sur, the Byrds, and California Love | KQED",
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"headline": "Jeremy Earl of Woods on Big Sur, the Byrds, and California Love",
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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/woods/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Woods\u003c/h2>\n\u003cdiv class=\"event-desc\">Laid-back folk-rock purveyors.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/woods/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Woods may have been born in a Brooklyn bedroom, but more often than not they’re mistaken for having California roots. And for good reason: the band’s music, especially from their last two albums \u003cem>Bend Beyond\u003c/em> and \u003cem>With Light With Love\u003c/em>, leans toward \u003ca href=\"https://www.youtube.com/watch?v=D8SuI7BqKP0\">sunny,\u003c/a> shimmering, psych-folk rock that could have been birthed in Topanga Canyon, circa 1968.\u003c/p>\n\u003cp>“I grew up on the East Coast and I’ve never lived in California, but I’ve always been drawn to it, and feel a sort of spiritual connection which I think comes out in our music,” says Jeremy Earl, the 35-year-old songwriter who began Woods as a solo, lo-fi bedroom recording project in 2006. (He grew up in rural Warwick, New York, a place, appropriately, made up of woods and farmland.)\u003c/p>\n\u003cp>In fact, Earl counts the Byrds, a band which epitomizes the folk-rock sound that bloomed out of Los Angeles in the late sixties, among his favorites. When I confess that listening to Woods evokes a sense of nostalgia for me, how it brings up memories of listening over and over to my dad’s faded and crumbling vinyl copy of \u003cem>The Byrds Greatest Hits\u003c/em>, specifically\u003ca href=\"https://youtu.be/J74ttSR8lEg\"> “Eight Miles High,” \u003c/a>in my Southern California living room, Earl says: “That song most definitely makes my list of top ten songs of all time.”\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/X4GA9axMGUc'\n title='//www.youtube.com/embed/X4GA9axMGUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I got really deep into that kind of music years ago,” he explains. “Stemming off the Byrds, to Crosby, Stills, Nash & Young, New Riders of the Purple Sage, the Dead. Maybe a combination of all that is where the California connection comes from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Early Woods recordings are the dictionary definition of lo-fi: stark, \u003ca href=\"https://www.youtube.com/watch?v=T8c58ifqmk0\">simple folk dirges\u003c/a> that stand out mainly for Earl’s distinctive high-pitched singing voice, like Neil Young might sound if he’d just walked 20 miles through a pounding rainstorm. A sound described by Pitchfork as \u003ca href=\"http://pitchfork.com/reviews/albums/12837-songs-of-shame/\">“spooky campfire rock” with “deceptively sturdy melodies\u003c/a>.”\u003c/p>\n\u003cp>By their fourth album, 2009’s \u003cem>Songs of Shame\u003c/em>, Woods had developed a (slightly) fuller style, especially on moments of lovely, compulsively listenable ramshackle pop like \u003ca href=\"https://youtu.be/L3Mou_LDvhY\">“Rain On\u003c/a>.” Guitarist and multi-instrumentalist Jarvis Taveniere had taken on a larger role in the group, which began to embrace the nine-minute long jams that would find a place on the next few albums.\u003c/p>\n\u003cp>\u003cem>Bend Beyond\u003c/em> and \u003cem>With Light and With Love\u003c/em> solidify this new version of Woods, now a full-fledged five-piece. The current touring lineup, along with Earl and Taveniere, includes Aaron Neveu, John Andrews, and Chuck Van Dyck. With the additional musicians, Woods has left behind the weirdo, off-kilter campfire sound for a lusher, pop-folk infused with that aforementioned Golden State glow.\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/HV31xV2PA1I'\n title='//www.youtube.com/embed/HV31xV2PA1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Earl says the move away from scratchy sound collages and muffled dirges was all very organic; they simply got better at what they do. “If you listen to our catalog, you can see that we’ve figured out whatever it is, certain aspects of recording,” he adds. “We’ve been stirring the pot for a while and cooking it down.”\u003c/p>\n\u003cp>They’ve also seen an increase in invitations to play festivals and bigger shows. This year, they’ll hit Sasquatch and Bonnaroo. But before festival madness descends, Woods arrives in the Bay Area for the annual \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2014-big-sur-2/\" target=\"_blank\" rel=\"noopener\">Woodsist Festival\u003c/a> in Big Sur, along with shows at \u003ca href=\"http://www.thechapelsf.com/event/814781-woods-san-francisco/\">the Chapel \u003c/a>on May 15 and at \u003ca href=\"http://www.ticketfly.com/event/796429\">Gundlach-Bundschu Winery \u003c/a>in Sonoma on May 19.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.woodsist.com/catalog/woodsist/woodsist-festival-2014-big-sur-2/\"> Woodist Festival\u003c/a>, sponsored by Earl’s record label by the same name, has become known for cultivating a kind of mini-Woodstock atmosphere for 21st-century flower children. The seeds for the event were planted seven years ago, Woods played an intimate show presented by \u003ca href=\"http://folkyeah.com/\">Folk Yeah\u003c/a> at the Henry Miller Library in Big Sur. Mesmerized by the redwood trees and proximity to the ocean, along with the mellow atmosphere, Earl decided it was his “ideal place on earth.”\u003c/p>\n\u003cp>“Everything about the experience blew my mind,” he says. The Woodsist Festival, featuring acts like Real Estate, Simon Joyner, and Little Wings, has now been going strong for six years, and Woods always make a point of scheduling their West Coast tours around the festival.\u003c/p>\n\u003cp>“Big Sur is very peaceful,” says Earl. “It takes us out of the normal show-and-festival environment. It makes the whole thing more about hanging out with the locals, and like-minded people, having a good time and relaxing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spoken like a true Californian – by way of Brooklyn, of course.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Joni Mitchell Receives Fitting Tribute at SFJAZZ",
"headTitle": "Live Review: Joni Mitchell Receives Fitting Tribute at SFJAZZ | KQED",
"content": "\u003cp>Even if she couldn’t be there in person, boy, was Joni Mitchell ever there in spirit. \u003c/p>\n\u003cp>At Friday night’s SFJAZZ gala tribute to Mitchell – currently hospitalized after collapsing in her home last month – the 71-year-old singer, songwriter, and composer received honors that fittingly, and finally, focused on her music instead of her personal life.\u003c/p>\n\u003cp>It wasn’t always this way. For decades, the male rock musicians with which Mitchell kept relations overshadowed her artistry. Indeed, less than five minutes into Friday’s tribute, her relationship with Graham Nash was mentioned in introductory comments by Ben Fong-Torres, recalling \u003ca href=\"http://www.ioffer.com/img/item/199/308/018/rolling-stone-magazine-joni-mitchell-33-1969-0b00c.JPG\" target=\"_blank\" rel=\"noopener\">his first \u003cem>Rolling Stone\u003c/em> cover story\u003c/a>, on Mitchell, in 1969. (Not mentioned was the infamous \u003ca href=\"http://www.rollingstone.com/music/news/morrissey-melancholy-meets-the-infinite-sadness-19970306\" target=\"_blank\" rel=\"noopener\">“family tree” of men Mitchell slept with\u003c/a>, published by \u003cem>Rolling Stone\u003c/em> in 1971, wherein she was dubbed “Old Lady of the Year” at, ahem, age 28.)\u003c/p>\n\u003cfigure id=\"attachment_10642750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/KellyJonesSFJAZZ.jpg\" alt=\"Kelly Jones performs at SFJAZZ's tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KellyJonesSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KellyJonesSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Jones performs at SFJAZZ’s tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\u003c/figcaption>\u003c/figure>\n\u003cp>But even amid \u003ca href=\"http://www.tmz.com/2015/03/31/joni-mitchell-hospitalized-ambulance-911/\" target=\"_blank\" rel=\"noopener\">TMZ gossip\u003c/a> about Mitchell’s health, \u003ca href=\"http://www.tmz.com/2015/04/28/joni-mitchell-coma-conservatorship-health-update-hospital/\" target=\"_blank\" rel=\"noopener\">leaked legal documents\u003c/a> and a close watch on her very mortality, in the end it was all about her music at SFJAZZ. Or, rather, at the beginning: Kelly Jones kicked off the program with a version of “Court and Spark” that encapsulated the variegated style of Mitchell’s music, with Latin percussion, country lap-steel guitar, classical piano and flamenco guitar solos. \u003c/p>\n\u003cp>Very few composers can boast the quantity and breadth of Mitchell’s output, which for a span of several years in the 1970s veered unwaveringly into the jazz realm, buoyed by sidemen like Jaco Pastorious, Wayne Shorter, Herbie Hancock, and Brian Blade (who served as a musical director for the concert). But even her earlier, folkier work received jazz treatments, as in the SFJAZZ Collective’s angular instrumental take on “Both Sides Now.” Avashi Cohen took the melody on trumpet, but fellow hornmen Tom Scott, Mark Isham, Miguel Zenón and David Sanchez inverted and augmented the song’s chords in an emotional arrangement by Zenón, complete with time changes and an extended outro quoting Nirvana’s “All Apologies.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clear highlight of the evening came courtesy of Judith Hill, who most know from her turn in the backup-singer documentary \u003cem>20 Feet From Stardom\u003c/em>. Hill’s goosebump-inducing version of “River,” one of four songs performed from Mitchell’s 1971 masterpiece \u003cem>Blue\u003c/em>, channeled Aretha Franklin in her prime over a swampy, arpeggio-driven funk arrangement; it transformed a song of sorrow into a song of liberation, and brought the house down.\u003c/p>\n\u003cfigure id=\"attachment_10642751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg\" alt=\"Kris Kristofferson performs at SFJAZZ's tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson performs at SFJAZZ’s tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\u003c/figcaption>\u003c/figure>\n\u003cp>Another special moment came with a brief appearance by Kris Kristofferson, who gave a wise-grandpa treatment to “A Case of You.” Half talking, half singing, Kristofferson brought 78 years of experience to the innocent song of young love, and the effect was extraordinary. And the performer that conjured Mitchell’s unique phrasing more than any other was Patti Austin, who quipped to the cameras, “My goddess, Joni, I love you desperately, I love you madly. Could you write some simpler songs?”\u003c/p>\n\u003cp>And yes, the challenging nature of her songs sometimes caught up with performers. Laurie Antonioli struggled with tempo and key during a high-speed version of “This Flight Tonight,” and Kurt Elling’s lounge-singer approach provided an awkward contrast to “Edith and the Kingpin” and “Black Crow.” Especially ridiculous was a repetitive, heavy-metal version of “The Jungle Line,” with power chords, chromatic riffs, tribal drumming and a scat solo by Elling that ended in a Tibetan growl. \u003c/p>\n\u003cp>Though Joe Jackson slipped into and out of falsetto uncomfortably, his New Orleans boogie-woogie piano take on “Big Yellow Taxi” enlivened the crowd, and he even threw in a bit of Thelonious Monk’s “Blue Monk” for extra jazz cred. (Later in the set, Jackson ran through a serviceable version of “Twisted,” the Jon Hendricks composition that Jackson introduced as a “cover of a cover.”)\u003c/p>\n\u003cfigure id=\"attachment_10642752\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/WayneShorterSFJAZZ.jpg\" alt=\"Wayne Shorter accepts the lifetime achievement award on behalf of Joni Mitchell from SFJAZZ founder and artistic director Randall Kline. (Photo: Drew Altizer Photography)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WayneShorterSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WayneShorterSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter accepts the lifetime achievement award on behalf of Joni Mitchell from SFJAZZ founder and artistic director Randall Kline. (Photo: Drew Altizer Photography) \u003ccite>(Drew Altizer Photography/KQED File Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other “cover of a cover,” Charles Mingus’ “Goodbye Porkpie Hat” represented the most somber mood of the night. Mingus composed the haunting track the the late 1950s as a tribute to Lester Young after his death (Mitchell put words to it for her 1979 album, \u003cem>Mingus\u003c/em>), and it was hard to hear its pensive arrangement by Cohen without thinking of Mitchell’s current health concerns. \u003c/p>\n\u003cp>In accepting the Lifetime Achievement Award on Mitchell’s behalf, jazz legend Wayne Shorter echoed what many mentioned from the stage: that he’d talked to Mitchell recently, and that she wished that she could have been there. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the two-hour tribute to her music, we all wished she could have been there, too.\u003c/p>\n\n",
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"excerpt": "An all-star lineup honored Joni Mitchell on Friday night, shedding new light on her vast musical output and bestowing a Lifetime Achievement Award to the singer and composer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if she couldn’t be there in person, boy, was Joni Mitchell ever there in spirit. \u003c/p>\n\u003cp>At Friday night’s SFJAZZ gala tribute to Mitchell – currently hospitalized after collapsing in her home last month – the 71-year-old singer, songwriter, and composer received honors that fittingly, and finally, focused on her music instead of her personal life.\u003c/p>\n\u003cp>It wasn’t always this way. For decades, the male rock musicians with which Mitchell kept relations overshadowed her artistry. Indeed, less than five minutes into Friday’s tribute, her relationship with Graham Nash was mentioned in introductory comments by Ben Fong-Torres, recalling \u003ca href=\"http://www.ioffer.com/img/item/199/308/018/rolling-stone-magazine-joni-mitchell-33-1969-0b00c.JPG\" target=\"_blank\" rel=\"noopener\">his first \u003cem>Rolling Stone\u003c/em> cover story\u003c/a>, on Mitchell, in 1969. (Not mentioned was the infamous \u003ca href=\"http://www.rollingstone.com/music/news/morrissey-melancholy-meets-the-infinite-sadness-19970306\" target=\"_blank\" rel=\"noopener\">“family tree” of men Mitchell slept with\u003c/a>, published by \u003cem>Rolling Stone\u003c/em> in 1971, wherein she was dubbed “Old Lady of the Year” at, ahem, age 28.)\u003c/p>\n\u003cfigure id=\"attachment_10642750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/KellyJonesSFJAZZ.jpg\" alt=\"Kelly Jones performs at SFJAZZ's tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KellyJonesSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KellyJonesSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Jones performs at SFJAZZ’s tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\u003c/figcaption>\u003c/figure>\n\u003cp>But even amid \u003ca href=\"http://www.tmz.com/2015/03/31/joni-mitchell-hospitalized-ambulance-911/\" target=\"_blank\" rel=\"noopener\">TMZ gossip\u003c/a> about Mitchell’s health, \u003ca href=\"http://www.tmz.com/2015/04/28/joni-mitchell-coma-conservatorship-health-update-hospital/\" target=\"_blank\" rel=\"noopener\">leaked legal documents\u003c/a> and a close watch on her very mortality, in the end it was all about her music at SFJAZZ. Or, rather, at the beginning: Kelly Jones kicked off the program with a version of “Court and Spark” that encapsulated the variegated style of Mitchell’s music, with Latin percussion, country lap-steel guitar, classical piano and flamenco guitar solos. \u003c/p>\n\u003cp>Very few composers can boast the quantity and breadth of Mitchell’s output, which for a span of several years in the 1970s veered unwaveringly into the jazz realm, buoyed by sidemen like Jaco Pastorious, Wayne Shorter, Herbie Hancock, and Brian Blade (who served as a musical director for the concert). But even her earlier, folkier work received jazz treatments, as in the SFJAZZ Collective’s angular instrumental take on “Both Sides Now.” Avashi Cohen took the melody on trumpet, but fellow hornmen Tom Scott, Mark Isham, Miguel Zenón and David Sanchez inverted and augmented the song’s chords in an emotional arrangement by Zenón, complete with time changes and an extended outro quoting Nirvana’s “All Apologies.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clear highlight of the evening came courtesy of Judith Hill, who most know from her turn in the backup-singer documentary \u003cem>20 Feet From Stardom\u003c/em>. Hill’s goosebump-inducing version of “River,” one of four songs performed from Mitchell’s 1971 masterpiece \u003cem>Blue\u003c/em>, channeled Aretha Franklin in her prime over a swampy, arpeggio-driven funk arrangement; it transformed a song of sorrow into a song of liberation, and brought the house down.\u003c/p>\n\u003cfigure id=\"attachment_10642751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg\" alt=\"Kris Kristofferson performs at SFJAZZ's tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson performs at SFJAZZ’s tribute to Joni Mitchell, May 8, 2015. (Photo: Drew Altizer Photography)\u003c/figcaption>\u003c/figure>\n\u003cp>Another special moment came with a brief appearance by Kris Kristofferson, who gave a wise-grandpa treatment to “A Case of You.” Half talking, half singing, Kristofferson brought 78 years of experience to the innocent song of young love, and the effect was extraordinary. And the performer that conjured Mitchell’s unique phrasing more than any other was Patti Austin, who quipped to the cameras, “My goddess, Joni, I love you desperately, I love you madly. Could you write some simpler songs?”\u003c/p>\n\u003cp>And yes, the challenging nature of her songs sometimes caught up with performers. Laurie Antonioli struggled with tempo and key during a high-speed version of “This Flight Tonight,” and Kurt Elling’s lounge-singer approach provided an awkward contrast to “Edith and the Kingpin” and “Black Crow.” Especially ridiculous was a repetitive, heavy-metal version of “The Jungle Line,” with power chords, chromatic riffs, tribal drumming and a scat solo by Elling that ended in a Tibetan growl. \u003c/p>\n\u003cp>Though Joe Jackson slipped into and out of falsetto uncomfortably, his New Orleans boogie-woogie piano take on “Big Yellow Taxi” enlivened the crowd, and he even threw in a bit of Thelonious Monk’s “Blue Monk” for extra jazz cred. (Later in the set, Jackson ran through a serviceable version of “Twisted,” the Jon Hendricks composition that Jackson introduced as a “cover of a cover.”)\u003c/p>\n\u003cfigure id=\"attachment_10642752\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/WayneShorterSFJAZZ.jpg\" alt=\"Wayne Shorter accepts the lifetime achievement award on behalf of Joni Mitchell from SFJAZZ founder and artistic director Randall Kline. (Photo: Drew Altizer Photography)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WayneShorterSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WayneShorterSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter accepts the lifetime achievement award on behalf of Joni Mitchell from SFJAZZ founder and artistic director Randall Kline. (Photo: Drew Altizer Photography) \u003ccite>(Drew Altizer Photography/KQED File Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other “cover of a cover,” Charles Mingus’ “Goodbye Porkpie Hat” represented the most somber mood of the night. Mingus composed the haunting track the the late 1950s as a tribute to Lester Young after his death (Mitchell put words to it for her 1979 album, \u003cem>Mingus\u003c/em>), and it was hard to hear its pensive arrangement by Cohen without thinking of Mitchell’s current health concerns. \u003c/p>\n\u003cp>In accepting the Lifetime Achievement Award on Mitchell’s behalf, jazz legend Wayne Shorter echoed what many mentioned from the stage: that he’d talked to Mitchell recently, and that she wished that she could have been there. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the two-hour tribute to her music, we all wished she could have been there, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Legislation to Protect Nightclubs from \"Complainy-Pants\" Neighbors Passes",
"headTitle": "Legislation to Protect Nightclubs from “Complainy-Pants” Neighbors Passes | KQED",
"content": "\u003cp>In a victory for San Francisco’s music community, a measure to protect nightclubs from \u003ca href=\"http://ww2.kqed.org/arts/2014/12/30/local-scenesters-take-to-forum-to-say-club-scene-not-endangered/\" target=\"_blank\" rel=\"noopener\">“complainy-pants” neighbors\u003c/a> was approved by the city’s Board of Supervisors on Tuesday.\u003c/p>\n\u003cp>The measure, advanced by Board President London Breed, prohibits those living next to nightclubs from filing a complaint about noise or other nuisances if the club is operating in adherence to its entertainment permit. It also requires developers of new residences — condos, in most cases — to disclose to potential residents the existence of and activity at nearby nightclubs.\u003c/p>\n\u003cp>Though the Red Devil Lounge has already closed and the Elbo Room \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">will shut down later this year\u003c/a>, other clubs around the city have faced uncertain futures due to looming development. Breed crafted the legislation after the Independent, on Divisadero Street, became aware of two mixed-use residential plans adjacent to the club. Recently, a \u003ca href=\"http://www.socketsite.com/archives/2015/04/plans-for-housing-to-rise-behind-bottom-of-the-hill.html\" target=\"_blank\" rel=\"noopener\">nine-unit condo project directly behind the Bottom of the Hill\u003c/a>, on 17th Street, passed its environmental review stage.\u003c/p>\n\u003cp>Even more stories came to light at a Planning Commission meeting back in March, \u003ca href=\"http://sfist.com/2015/03/20/nightclub_owners_make_noise_at_city.php\" target=\"_blank\" rel=\"noopener\">according to SFist\u003c/a>: a DJ at the Make-Out Room, Parker Gibbs, reported that the club had received complaints from neighbors at a new condo development that, ironically, touted the club as a nearby amenity in its marketing materials. As far back as 2011, the \u003ca href=\"http://www.sfweekly.com/shookdown/2011/03/21/slims-liquor-license-temporarily-suspended-due-to-neighbors-complaints\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em> reports\u003c/a>, Slim’s faced a 10-day liquor license suspension due to neighbors’ routine daily calls to police. And last year, \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">the \u003cem>San Francisco Chronicle\u003c/em> related the story\u003c/a> of a resident who bought a $1 million condo on 19th Street and swiftly began complaining about the Chapel, the Mission-District club just around the corner.\u003c/p>\n\u003cp>Breed’s legislation is hailed as a victory for nightclubs, music fans, and — let’s face it — common sense, even \u003ca href=\"http://www.billboard.com/biz/articles/6554080/effort-to-protect-san-francisco-clubs-from-noisy-lawsuits-passed-by-city\" target=\"_blank\" rel=\"noopener\">drawing coverage by music-industry journal \u003cem>Billboard\u003c/em>\u003c/a>. And though the measure doesn’t stop rising rents or amend the permitting process to make it any easier to open a new nightclub, it clearly provides a much-needed layer of protection for nightlife owners and their patrons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A new measure, passed this week, provides key protections for San Francisco nightclubs threatened by nearby neighbors and new residential development.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a victory for San Francisco’s music community, a measure to protect nightclubs from \u003ca href=\"http://ww2.kqed.org/arts/2014/12/30/local-scenesters-take-to-forum-to-say-club-scene-not-endangered/\" target=\"_blank\" rel=\"noopener\">“complainy-pants” neighbors\u003c/a> was approved by the city’s Board of Supervisors on Tuesday.\u003c/p>\n\u003cp>The measure, advanced by Board President London Breed, prohibits those living next to nightclubs from filing a complaint about noise or other nuisances if the club is operating in adherence to its entertainment permit. It also requires developers of new residences — condos, in most cases — to disclose to potential residents the existence of and activity at nearby nightclubs.\u003c/p>\n\u003cp>Though the Red Devil Lounge has already closed and the Elbo Room \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">will shut down later this year\u003c/a>, other clubs around the city have faced uncertain futures due to looming development. Breed crafted the legislation after the Independent, on Divisadero Street, became aware of two mixed-use residential plans adjacent to the club. Recently, a \u003ca href=\"http://www.socketsite.com/archives/2015/04/plans-for-housing-to-rise-behind-bottom-of-the-hill.html\" target=\"_blank\" rel=\"noopener\">nine-unit condo project directly behind the Bottom of the Hill\u003c/a>, on 17th Street, passed its environmental review stage.\u003c/p>\n\u003cp>Even more stories came to light at a Planning Commission meeting back in March, \u003ca href=\"http://sfist.com/2015/03/20/nightclub_owners_make_noise_at_city.php\" target=\"_blank\" rel=\"noopener\">according to SFist\u003c/a>: a DJ at the Make-Out Room, Parker Gibbs, reported that the club had received complaints from neighbors at a new condo development that, ironically, touted the club as a nearby amenity in its marketing materials. As far back as 2011, the \u003ca href=\"http://www.sfweekly.com/shookdown/2011/03/21/slims-liquor-license-temporarily-suspended-due-to-neighbors-complaints\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em> reports\u003c/a>, Slim’s faced a 10-day liquor license suspension due to neighbors’ routine daily calls to police. And last year, \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">the \u003cem>San Francisco Chronicle\u003c/em> related the story\u003c/a> of a resident who bought a $1 million condo on 19th Street and swiftly began complaining about the Chapel, the Mission-District club just around the corner.\u003c/p>\n\u003cp>Breed’s legislation is hailed as a victory for nightclubs, music fans, and — let’s face it — common sense, even \u003ca href=\"http://www.billboard.com/biz/articles/6554080/effort-to-protect-san-francisco-clubs-from-noisy-lawsuits-passed-by-city\" target=\"_blank\" rel=\"noopener\">drawing coverage by music-industry journal \u003cem>Billboard\u003c/em>\u003c/a>. And though the measure doesn’t stop rising rents or amend the permitting process to make it any easier to open a new nightclub, it clearly provides a much-needed layer of protection for nightlife owners and their patrons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Discover Art, Music, Food (and a Forest) in the Tenderloin",
"headTitle": "Discover Art, Music, Food (and a Forest) in the Tenderloin | 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/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Terra Incognita\u003c/h2>\n\u003cdiv class=\"event-desc\">An outdoor event of art, music and food.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Tenderloin National Forest\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Terra incognita” is a term used by cartographers to describe uncharted territory. On Saturday, May 9, art, music and food converge on the Tenderloin National Forest for visitors with a sense of adventure in the Luggage Store’s free one-night event, \u003ci>Terra Incognita.\u003c/i>\u003c/p>\n\u003cp>The Tenderloin may seem like an unlikely place for a forest, but for the past 15 years the small glade dubbed the \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a> has flourished in Cohen Alley at 509 Ellis Street in San Francisco. Created by a team of artists, volunteers and members of the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store\u003c/a> to celebrate the diversity and beauty of the neighborhood, the space represents a vital and active community effort to transform an unused alley into a communal gathering place.\u003c/p>\n\u003cfigure id=\"attachment_10630697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10630697 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TERRA-GIF-LOOP1.gif\" alt=\"TERRA-GIF-LOOP\" width=\"640\" height=\"359\">\u003cfigcaption class=\"wp-caption-text\">The artists behind \u003ci>Terra Incognita\u003c/i>. (Photo by Frances Ancheta)\u003c/figcaption>\u003c/figure>\n\u003cp>While the Tenderloin National Forest is usually open to the public 11am to 3pm, Wednesday through Saturday, the alley will keep its gates open 7-10pm on May 9 for \u003ca href=\"http://www.luggagestoregallery.org/2015/04/terra-incocnita/\" target=\"_blank\" rel=\"noopener\">\u003ci>Terra Incognita\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Combining the varied talents of visual artists \u003ca href=\"http://robinbirdd.com/\" target=\"_blank\" rel=\"noopener\">Robin Birdd\u003c/a> and \u003ca href=\"https://blabberbytes.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Yip\u003c/a>, musicians \u003ca href=\"http://trillionsmusic.com/\" target=\"_blank\" rel=\"noopener\">The Trillions\u003c/a> and \u003ca href=\"https://soundcloud.com/plzpassthepie\" target=\"_blank\" rel=\"noopener\">Salty Sherilyn\u003c/a> and food by Chef Eman G, visitors can expect treats for all of their senses. As the sun sets, projections and installations will illuminate paper animals nestled among the foliage, a bit of wildlife in a forest bounded by bricks and concrete. The night’s custom menu is inspired by the notion of terra incognita: flavors waiting to be discovered.\u003c/p>\n\u003cp>\u003cem>For a preview of the night’s musical performances, download \u003ca href=\"https://soundcloud.com/joogmac/joog-x-saltysherilyn-sounds-of-terra-incognita\" target=\"_blank\" rel=\"noopener\">a mix\u003c/a> made by Joog Mac of the Trillions and Salty Sherilyn:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/203812075″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\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/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Terra Incognita\u003c/h2>\n\u003cdiv class=\"event-desc\">An outdoor event of art, music and food.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Tenderloin National Forest\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Terra incognita” is a term used by cartographers to describe uncharted territory. On Saturday, May 9, art, music and food converge on the Tenderloin National Forest for visitors with a sense of adventure in the Luggage Store’s free one-night event, \u003ci>Terra Incognita.\u003c/i>\u003c/p>\n\u003cp>The Tenderloin may seem like an unlikely place for a forest, but for the past 15 years the small glade dubbed the \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a> has flourished in Cohen Alley at 509 Ellis Street in San Francisco. Created by a team of artists, volunteers and members of the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store\u003c/a> to celebrate the diversity and beauty of the neighborhood, the space represents a vital and active community effort to transform an unused alley into a communal gathering place.\u003c/p>\n\u003cfigure id=\"attachment_10630697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10630697 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TERRA-GIF-LOOP1.gif\" alt=\"TERRA-GIF-LOOP\" width=\"640\" height=\"359\">\u003cfigcaption class=\"wp-caption-text\">The artists behind \u003ci>Terra Incognita\u003c/i>. (Photo by Frances Ancheta)\u003c/figcaption>\u003c/figure>\n\u003cp>While the Tenderloin National Forest is usually open to the public 11am to 3pm, Wednesday through Saturday, the alley will keep its gates open 7-10pm on May 9 for \u003ca href=\"http://www.luggagestoregallery.org/2015/04/terra-incocnita/\" target=\"_blank\" rel=\"noopener\">\u003ci>Terra Incognita\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Combining the varied talents of visual artists \u003ca href=\"http://robinbirdd.com/\" target=\"_blank\" rel=\"noopener\">Robin Birdd\u003c/a> and \u003ca href=\"https://blabberbytes.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Yip\u003c/a>, musicians \u003ca href=\"http://trillionsmusic.com/\" target=\"_blank\" rel=\"noopener\">The Trillions\u003c/a> and \u003ca href=\"https://soundcloud.com/plzpassthepie\" target=\"_blank\" rel=\"noopener\">Salty Sherilyn\u003c/a> and food by Chef Eman G, visitors can expect treats for all of their senses. As the sun sets, projections and installations will illuminate paper animals nestled among the foliage, a bit of wildlife in a forest bounded by bricks and concrete. The night’s custom menu is inspired by the notion of terra incognita: flavors waiting to be discovered.\u003c/p>\n\u003cp>\u003cem>For a preview of the night’s musical performances, download \u003ca href=\"https://soundcloud.com/joogmac/joog-x-saltysherilyn-sounds-of-terra-incognita\" target=\"_blank\" rel=\"noopener\">a mix\u003c/a> made by Joog Mac of the Trillions and Salty Sherilyn:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/peter-brotzmann-trio/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Peter Brötzmann Trio\u003c/h2>\n\u003cdiv class=\"event-desc\">A majestic wall of noise.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/peter-brotzmann-trio/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Talk about a power trio: this week at the Chapel, a multi-generational ensemble brings together three of the most influential and prolific musicians from jazz’s raucous left field, players whose presence together on a bandstand virtually guarantees a fiery communion. They’ve all collaborated widely over the years in various contexts, but are heard far too infrequently in the Bay Area.\u003c/p>\n\u003cp>At 74, German saxophonist Peter Brötzmann is the band’s elder statesman, a rough-and-tumble improviser whose gutbucket tone, fierce energy and pointillist sensibility have defined one school of European free jazz since his epochal 1968 octet album \u003cem>Machine Gun\u003c/em>. Focusing on tenor sax, clarinet and the keening Hungarian single-reed taragato, he’s recorded a vast number of albums over the years with many of Europe’s greatest free improvisers, while inspiring more recent generations of American musicians, particularly on Chicago’s talent-bristling scene. After a long break from the Bay Area, Brötzmann performed a sold-out, standing-room-only date at the Center for New Music in 2013; this is his first area show since.\u003c/p>\n\u003cp>New York bassist William Parker, 63, is the fulcrum of the free-jazz universe, a role formalized as the founder and guiding spirit of New York’s annual Vision Festival. Whether plucking or bowing the bass, he’s a galvanizing musician who gives shape to a performance with his thick and utterly personal textural palette. And Chicago drummer Hamid Drake, 59, is a protean force who got his start with pioneering avant-garde players like trumpeter Don Cherry and tenor saxophonist Fred Anderson. Immensely resourceful and widely traveled, he was a founding member of Gambian-born kora master Foday Musa Suso’s Mandingo Griot Society.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Brotzmann2-800x250.jpg\" alt=\"Brotzmann2\" width=\"800\" height=\"250\" class=\"aligncenter size-medium wp-image-10629656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Brotzmann2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Brotzmann2-400x125.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The three giants have performed and recorded together extensively over the years, including in Brötzmann’s Die Like A Dog Quartet (with trumpeter Toshinori Kondo), a band the saxophonist initially assembled to explore the legacy of Albert Ayler. More recently, Parker, Drake and Brötzmann documented their pulverizing triumvirate on \u003cem>Never Too Late But Always Early\u003c/em> (Eremite), a live double album dedicated to the great German bassist Peter Kowald, who had been the saxophonist’s frequent partner in exploration. A formidable Bay Area trio featuring saxophonist Patrick Wolff, bassist Eric Markowitz and drummer Hamir Atwal open the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Listen In: Dissecting Bells Atlas' New Single, \"Bling\"",
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"content": "\u003caside class=\"aligncenter\">\n[soundcloud url=”https://api.soundcloud.com/tracks/203922648″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003cbr>\n\u003c/aside>\n\u003cp>Although they play more than bells, the Oakland four-piece Bells Atlas more than live up to their name; their songs are atlases of sounds and styles, effortlessly blending elements of funk, West African polyrhythms and impressionistic guitar figures into a world all their own. \u003cem>Hyperlust\u003c/em>, the group’s new EP \u003ca href=\"https://www.youtube.com/watch?v=HV25nuPVrWs\">recorded at the Oakland studio Zoo Labs\u003c/a> last summer and due out May 28, picks up the same global scope of their \u003ca href=\"http://bellsatlas.bandcamp.com/album/bells-atlas-3\" target=\"_blank\" rel=\"noopener\">self-titled debut\u003c/a>.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bells-atlas-2/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Seshen and Bells Atlas\u003c/h2>\n\u003cdiv class=\"event-desc\">Dynamic lineup in Oakland.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bells-atlas-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>While many of Bells Atlas’ previous songs sprawled into trance-like grooves, the four tracks on \u003cem>Hyperlust\u003c/em> are tight-knit; the melodies are more concrete, the guitar figures more focused and Geneva Harrison’s drums, often distorted and modulated, crash and punch with newfound gale-force strength. On “\u003ca href=\"https://bellsatlas.bandcamp.com/track/future-bones\" target=\"_blank\" rel=\"noopener\">Future Bones\u003c/a>,” singer Sandra Lawson-Ndu rides a spiky wave of echo-y thuds, clacking sticks and guitar jabs, while “Mess It Up” lingers under a tranquil foil of shimmering synthesizer before blasting off into a glorious mess.\u003c/p>\n\u003cp>Bells Atlas plays the New Parish this Friday with fellow Bay Area powerhouse ensemble \u003ca href=\"http://www.theseshen.com/home/\">the Seshen\u003c/a> — whose bassist Aki Ehara co-produced “Bling” — and the equally-captivating \u003ca href=\"http://www.zakiyaharris.com/music/\">Zakiya Harris feat. Elephantine\u003c/a>. When asked what makes the show special, Lawson-Ndu excitedly points out that it’s “led by all black women” — and what better way to come home after a long break playing the Oakland venue?\u003c/p>\n\u003cp>Listen to Bells Atlas discuss “Bling,” above, and be sure to catch them at the New Parish on May 8.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/203922648″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/203922648″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Although they play more than bells, the Oakland four-piece Bells Atlas more than live up to their name; their songs are atlases of sounds and styles, effortlessly blending elements of funk, West African polyrhythms and impressionistic guitar figures into a world all their own. \u003cem>Hyperlust\u003c/em>, the group’s new EP \u003ca href=\"https://www.youtube.com/watch?v=HV25nuPVrWs\">recorded at the Oakland studio Zoo Labs\u003c/a> last summer and due out May 28, picks up the same global scope of their \u003ca href=\"http://bellsatlas.bandcamp.com/album/bells-atlas-3\" target=\"_blank\" rel=\"noopener\">self-titled debut\u003c/a>.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bells-atlas-2/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Seshen and Bells Atlas\u003c/h2>\n\u003cdiv class=\"event-desc\">Dynamic lineup in Oakland.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bells-atlas-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>While many of Bells Atlas’ previous songs sprawled into trance-like grooves, the four tracks on \u003cem>Hyperlust\u003c/em> are tight-knit; the melodies are more concrete, the guitar figures more focused and Geneva Harrison’s drums, often distorted and modulated, crash and punch with newfound gale-force strength. On “\u003ca href=\"https://bellsatlas.bandcamp.com/track/future-bones\" target=\"_blank\" rel=\"noopener\">Future Bones\u003c/a>,” singer Sandra Lawson-Ndu rides a spiky wave of echo-y thuds, clacking sticks and guitar jabs, while “Mess It Up” lingers under a tranquil foil of shimmering synthesizer before blasting off into a glorious mess.\u003c/p>\n\u003cp>Bells Atlas plays the New Parish this Friday with fellow Bay Area powerhouse ensemble \u003ca href=\"http://www.theseshen.com/home/\">the Seshen\u003c/a> — whose bassist Aki Ehara co-produced “Bling” — and the equally-captivating \u003ca href=\"http://www.zakiyaharris.com/music/\">Zakiya Harris feat. Elephantine\u003c/a>. When asked what makes the show special, Lawson-Ndu excitedly points out that it’s “led by all black women” — and what better way to come home after a long break playing the Oakland venue?\u003c/p>\n\u003cp>Listen to Bells Atlas discuss “Bling,” above, and be sure to catch them at the New Parish on May 8.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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