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"content": "\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784151\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/206784151&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/206784151'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Survive BottleRock: A Veteran's Guide",
"headTitle": "How to Survive BottleRock: A Veteran’s Guide | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>BottleRock Napa Valley\u003c/h2>\n\u003cdiv class=\"event-desc\">Three-day wine country music fest.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29-31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Napa Valley Expo\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As small cities go, Napa certainly has a big reputation… for wine. For rock ‘n’ roll? Not so much.\u003c/p>\n\u003cp>That’s changed, though, with \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa Valley\u003c/a>, which returns to the fairgrounds in Napa on May 29-31. Now in its third year, the festival started out as a five-day extravaganza with a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> too good to be true, or, more to the point, profitable: after paying the big-name bands, the original founders infamously left behind \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">$8.5 million in unpaid bills to workers and vendors\u003c/a>.\u003c/p>\n\u003cp>Under new ownership, the festival clearly seems to have ironed out the kinks of yesteryear. \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/artists/\" target=\"_blank\" rel=\"noopener\">This year’s lineup\u003c/a> boasts over 70 bands and performers, including headliners Imagine Dragons, No Doubt and Robert Plant. But if you’ve never been to BottleRock, there are a few things you should know. Take it from me: I’ve \u003ca href=\"http://www.pressdemocrat.com/news/2371011-181/bottlerocks-eclectic-lineup-wins-fans?page=0\" target=\"_blank\" rel=\"noopener\">been there\u003c/a>, three days each year since it started, and learned from my mistakes. Here are my tips.\u003c/p>\n\u003cfigure id=\"attachment_10703713\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg\" alt=\"A well-prepared dad at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A well-prepared dad at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>How to Get There\u003c/h2>\n\u003cp>Parking at BottleRock was last year’s biggest problem, with festival parking four miles away and irate attendees \u003ca href=\"https://instagram.com/p/osKITrSSe4/\" target=\"_blank\" rel=\"noopener\">waiting up to three hours in line\u003c/a> for the festival’s shuttles on Saturday night. This year, the lot is only half a mile away, but parking costs $35 presale and $40 at the gate. Far better to park somewhere along the 8, 10 or 11 routes of VINE, Napa’s city bus, and show your festival pass for a free ride. You can also park offsite and ride your bike in, but be aware that you can’t lock your bike up to the fences out front — all bikes are directed to bike valet parking, a few blocks away, which closes promptly at 11pm. (I learned this the hard way last year, showing up at 11:05pm to \u003ca href=\"https://instagram.com/p/oteiKSySRc/\" target=\"_blank\" rel=\"noopener\">a locked door and a two-mile walk back to my car\u003c/a>.)\u003c/p>\n\u003cp>Other options include a round-trip bus, which is new this year, and runs from Fairfield, Mill Valley, Oakland, Palo Alto, Sacramento, San Francisco, San Jose, Santa Rosa and Sonoma with two departure times and two return times. (Single-day roundtrip tickets are $30–$52.) A good tip is that on Sunday, probably much to the chagrin of the locals, street parking downtown is free with a short walk over the Third Street bridge to the festival. Certain neighbors near the site \u003ca href=\"https://instagram.com/p/oojY-FyScD/\" target=\"_blank\" rel=\"noopener\">curse BottleRock yet have no qualms about charging $20 for parking on their property\u003c/a>, and if you’re feeling like a baller, you can always hit up Jerovi Sanson at Villa Iris Jewelry – he’s the guy \u003ca href=\"https://instagram.com/p/ot3BvAySVx/\" target=\"_blank\" rel=\"noopener\">who charges $100 for parking directly across from the festival gates\u003c/a>! (Yes, a few Mercedes-Benz and Maserati owners took him up on it last year.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keep in mind, also, that there are scant few roads into and out of the city of Napa. Give yourself a comfortable cushion of time to deal with traffic congestion, which is inevitable when 30,000 people descend upon a relatively small town.\u003c/p>\n\u003cfigure id=\"attachment_10703710\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg\" alt=\"A young girl on her dad's shoulders watching L.L. Cool J at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A young girl on her dad’s shoulders watching L.L. Cool J at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Wear\u003c/h2>\n\u003cp>There’s hardly any shade at all to be found at the two biggest stages at BottleRock, so you’ll be in direct sunlight for hours; sunscreen is a must. That said, temperatures can drop quickly at night, so have a light sweater or sweatshirt on hand. As with any festival, it can get dusty — the first year’s attendees kicked up so much dust that the entire food area is \u003ca href=\"https://instagram.com/p/opDYadySds/\" target=\"_blank\" rel=\"noopener\">now covered in Astroturf\u003c/a> — so don’t wear anything you don’t want getting dirty and sweaty. The forecast for this weekend has highs in the 77°-81° range, so dress accordingly and comfortably; you’ll be walking from stage to stage throughout the day. Other than that, just \u003ca href=\"http://mic.com/articles/88941/the-awful-history-behind-why-hipsters-think-it-s-ok-to-wear-headdresses\" target=\"_blank\" rel=\"noopener\">don’t wear a Native American headdress\u003c/a> and you’ll be fine.\u003c/p>\n\u003ch2>Where to Watch\u003c/h2>\n\u003cp>At most BottleRock stages, it doesn’t really matter where you stand. (See: aforementioned lack of shade.) But at the Miner Family stage, you can wriggle your way alongside the wall of the building to the right of the stage and find a relaxing alcove with a decent view. This may be difficult at times, as BottleRock during peak hours can be a claustrophobe’s nightmare, with \u003ca href=\"https://instagram.com/p/orkdZWSSTJ/\" target=\"_blank\" rel=\"noopener\">slow-moving bottlenecks of bodies packed shoulder-to-shoulder\u003c/a>. \u003c/p>\n\u003cp>In addition to where to watch, also take note of \u003cem>when\u003c/em>. As mentioned, get there early to deal with any traffic, but if you also want to beat the crowds to leave, know that BottleRock strictly enforces a 10pm curfew. In fact, both Heart and the Cure got the power cut off last year right at 10pm, so if it’s 9:55 and Robert Plant still hasn’t fulfilled your far-fetched hope of performing the entire second side of Led Zeppelin’s \u003cem>IV\u003c/em>, you’re safe to bail.\u003c/p>\n\u003cfigure id=\"attachment_10703709\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg\" alt=\"Perry Farrell of Jane's Addiction chugs the local vino\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Perry Farrell of Jane’s Addiction chugs the local vino at BottleRock 2013. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Eat and Drink\u003c/h2>\n\u003cp>I’m still hoping that during his last days in office, along with the usual last-minute pardons, President Obama decrees that all outdoor music festivals shall be forced to provide free drinking water (or else be subject to the \u003ca href=\"http://mashable.com/2015/05/26/lil-b-curse-nba-based-god/\" target=\"_blank\" rel=\"noopener\">Based God Curse\u003c/a>). Thankfully, BottleRock already does this, allowing fans to bring in an empty water bottle to be refilled at stations throughout the festival grounds. Hooray!\u003c/p>\n\u003cp>Food is another matter — unlike other festivals, you can’t bring in your own food. Of course, this is Napa, so the eats on offer at BottleRock are fancy; they can also get pretty expensive, especially in the gourmet food court. I palled alongside food writer Heather Irwin from the \u003cem>Press Democrat\u003c/em> last year as she \u003ca href=\"http://www.biteclubeats.com/bottlerock-2014-food-trucks-restaurants-and-a-tragedy/\" target=\"_blank\" rel=\"noopener\">evaluated the culinary aspect of the festival\u003c/a>, and we deduced that the best bang for one’s buck was found at the food trucks (especially Curry Up Now, Me So Hungry and Drewski’s, all of which return this year). The wait times were up to 30 minutes, though, since many seemed to choose the trucks over the gourmet fare, which included $20 pizza and $12 sushi rolls.\u003c/p>\n\u003cp>Napa Valley, wine wonderland, yadda yadda: if you’re interested, \u003ca href=\"http://www.pressdemocrat.com/lifestyle/3831729-181/bottlerock-2015-food-and-chef?page=0\" target=\"_blank\" rel=\"noopener\">here’s Heather Irwin’s rundown\u003c/a> of all the wineries, as well as all the Michelin-starred chefs, destination restaurants and cooking reality-show winners who’ll be slinging their creations at BottleRock 2015. The short version: good luck finding a simple hot dog.\u003c/p>\n\u003ch2>Besides the Bands\u003c/h2>\n\u003cp>That said, it’s the food vendors who are taking part in the most interesting non-musical feature of BottleRock: a fifth stage hosting collaborations between chefs and musicians. Pulling a page from the \u003ca href=\"https://instagram.com/p/rdOFSdSSZv/\" target=\"_blank\" rel=\"noopener\">Outside Lands handbook\u003c/a>, the festival is allowing Flavor Flav, for example, to discuss actual flavor with \u003cem>Top Chef\u003c/em> winner Michael Voltaggio. The \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2015-set-times/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> includes 13 of these mashups, which also feature sports figures like Vernon Davis and Fred Couples, but easily the best of the bunch — and sure to be the most packed — is Snoop Dogg and Masaharu Morimoto, on stage, together at last. No one knows exactly what’s in store for the two, but if you’ve ever seen \u003ca href=\"http://www.marthastewart.com/245797/snoop-dogg#245797\" target=\"_blank\" rel=\"noopener\">Snoop make brownies with Martha Stewart\u003c/a>, you know you’re in for a treat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>BottleRock runs May 29-31 at the Napa Valley Expo in Napa. Single-day tickets are still available. More details over at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock’s site\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10703708\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg\" alt=\"BottleRock 2014: the afterglow. (Photo: Gabe Meline)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10703708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock 2014: the afterglow. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Our tips on how to spend three days in Napa this weekend, see dozens of great bands in the heart of wine country, and get out of there alive.\r\n",
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"description": "Our tips on how to spend three days in Napa this weekend, see dozens of great bands in the heart of wine country, and get out of there alive.\r\n",
"title": "How to Survive BottleRock: A Veteran's Guide | KQED",
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"headline": "How to Survive BottleRock: A Veteran's Guide",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>BottleRock Napa Valley\u003c/h2>\n\u003cdiv class=\"event-desc\">Three-day wine country music fest.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29-31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Napa Valley Expo\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bottlerock-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As small cities go, Napa certainly has a big reputation… for wine. For rock ‘n’ roll? Not so much.\u003c/p>\n\u003cp>That’s changed, though, with \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock Napa Valley\u003c/a>, which returns to the fairgrounds in Napa on May 29-31. Now in its third year, the festival started out as a five-day extravaganza with a \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2013-artists/\" target=\"_blank\" rel=\"noopener\">spectacular lineup\u003c/a> too good to be true, or, more to the point, profitable: after paying the big-name bands, the original founders infamously left behind \u003ca href=\"http://napavalleyregister.com/news/local/new-investors-propose-a-bottlerock/article_467615e0-5711-11e3-b0a4-0019bb2963f4.html\" target=\"_blank\" rel=\"noopener\">$8.5 million in unpaid bills to workers and vendors\u003c/a>.\u003c/p>\n\u003cp>Under new ownership, the festival clearly seems to have ironed out the kinks of yesteryear. \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/artists/\" target=\"_blank\" rel=\"noopener\">This year’s lineup\u003c/a> boasts over 70 bands and performers, including headliners Imagine Dragons, No Doubt and Robert Plant. But if you’ve never been to BottleRock, there are a few things you should know. Take it from me: I’ve \u003ca href=\"http://www.pressdemocrat.com/news/2371011-181/bottlerocks-eclectic-lineup-wins-fans?page=0\" target=\"_blank\" rel=\"noopener\">been there\u003c/a>, three days each year since it started, and learned from my mistakes. Here are my tips.\u003c/p>\n\u003cfigure id=\"attachment_10703713\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg\" alt=\"A well-prepared dad at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockDad-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A well-prepared dad at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>How to Get There\u003c/h2>\n\u003cp>Parking at BottleRock was last year’s biggest problem, with festival parking four miles away and irate attendees \u003ca href=\"https://instagram.com/p/osKITrSSe4/\" target=\"_blank\" rel=\"noopener\">waiting up to three hours in line\u003c/a> for the festival’s shuttles on Saturday night. This year, the lot is only half a mile away, but parking costs $35 presale and $40 at the gate. Far better to park somewhere along the 8, 10 or 11 routes of VINE, Napa’s city bus, and show your festival pass for a free ride. You can also park offsite and ride your bike in, but be aware that you can’t lock your bike up to the fences out front — all bikes are directed to bike valet parking, a few blocks away, which closes promptly at 11pm. (I learned this the hard way last year, showing up at 11:05pm to \u003ca href=\"https://instagram.com/p/oteiKSySRc/\" target=\"_blank\" rel=\"noopener\">a locked door and a two-mile walk back to my car\u003c/a>.)\u003c/p>\n\u003cp>Other options include a round-trip bus, which is new this year, and runs from Fairfield, Mill Valley, Oakland, Palo Alto, Sacramento, San Francisco, San Jose, Santa Rosa and Sonoma with two departure times and two return times. (Single-day roundtrip tickets are $30–$52.) A good tip is that on Sunday, probably much to the chagrin of the locals, street parking downtown is free with a short walk over the Third Street bridge to the festival. Certain neighbors near the site \u003ca href=\"https://instagram.com/p/oojY-FyScD/\" target=\"_blank\" rel=\"noopener\">curse BottleRock yet have no qualms about charging $20 for parking on their property\u003c/a>, and if you’re feeling like a baller, you can always hit up Jerovi Sanson at Villa Iris Jewelry – he’s the guy \u003ca href=\"https://instagram.com/p/ot3BvAySVx/\" target=\"_blank\" rel=\"noopener\">who charges $100 for parking directly across from the festival gates\u003c/a>! (Yes, a few Mercedes-Benz and Maserati owners took him up on it last year.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keep in mind, also, that there are scant few roads into and out of the city of Napa. Give yourself a comfortable cushion of time to deal with traffic congestion, which is inevitable when 30,000 people descend upon a relatively small town.\u003c/p>\n\u003cfigure id=\"attachment_10703710\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg\" alt=\"A young girl on her dad's shoulders watching L.L. Cool J at BottleRock 2014\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockLL-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">A young girl on her dad’s shoulders watching L.L. Cool J at BottleRock 2014. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Wear\u003c/h2>\n\u003cp>There’s hardly any shade at all to be found at the two biggest stages at BottleRock, so you’ll be in direct sunlight for hours; sunscreen is a must. That said, temperatures can drop quickly at night, so have a light sweater or sweatshirt on hand. As with any festival, it can get dusty — the first year’s attendees kicked up so much dust that the entire food area is \u003ca href=\"https://instagram.com/p/opDYadySds/\" target=\"_blank\" rel=\"noopener\">now covered in Astroturf\u003c/a> — so don’t wear anything you don’t want getting dirty and sweaty. The forecast for this weekend has highs in the 77°-81° range, so dress accordingly and comfortably; you’ll be walking from stage to stage throughout the day. Other than that, just \u003ca href=\"http://mic.com/articles/88941/the-awful-history-behind-why-hipsters-think-it-s-ok-to-wear-headdresses\" target=\"_blank\" rel=\"noopener\">don’t wear a Native American headdress\u003c/a> and you’ll be fine.\u003c/p>\n\u003ch2>Where to Watch\u003c/h2>\n\u003cp>At most BottleRock stages, it doesn’t really matter where you stand. (See: aforementioned lack of shade.) But at the Miner Family stage, you can wriggle your way alongside the wall of the building to the right of the stage and find a relaxing alcove with a decent view. This may be difficult at times, as BottleRock during peak hours can be a claustrophobe’s nightmare, with \u003ca href=\"https://instagram.com/p/orkdZWSSTJ/\" target=\"_blank\" rel=\"noopener\">slow-moving bottlenecks of bodies packed shoulder-to-shoulder\u003c/a>. \u003c/p>\n\u003cp>In addition to where to watch, also take note of \u003cem>when\u003c/em>. As mentioned, get there early to deal with any traffic, but if you also want to beat the crowds to leave, know that BottleRock strictly enforces a 10pm curfew. In fact, both Heart and the Cure got the power cut off last year right at 10pm, so if it’s 9:55 and Robert Plant still hasn’t fulfilled your far-fetched hope of performing the entire second side of Led Zeppelin’s \u003cem>IV\u003c/em>, you’re safe to bail.\u003c/p>\n\u003cfigure id=\"attachment_10703709\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg\" alt=\"Perry Farrell of Jane's Addiction chugs the local vino\" width=\"457\" height=\"640\" class=\"size-full wp-image-10703709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockPerry-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Perry Farrell of Jane’s Addiction chugs the local vino at BottleRock 2013. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003ch2>What to Eat and Drink\u003c/h2>\n\u003cp>I’m still hoping that during his last days in office, along with the usual last-minute pardons, President Obama decrees that all outdoor music festivals shall be forced to provide free drinking water (or else be subject to the \u003ca href=\"http://mashable.com/2015/05/26/lil-b-curse-nba-based-god/\" target=\"_blank\" rel=\"noopener\">Based God Curse\u003c/a>). Thankfully, BottleRock already does this, allowing fans to bring in an empty water bottle to be refilled at stations throughout the festival grounds. Hooray!\u003c/p>\n\u003cp>Food is another matter — unlike other festivals, you can’t bring in your own food. Of course, this is Napa, so the eats on offer at BottleRock are fancy; they can also get pretty expensive, especially in the gourmet food court. I palled alongside food writer Heather Irwin from the \u003cem>Press Democrat\u003c/em> last year as she \u003ca href=\"http://www.biteclubeats.com/bottlerock-2014-food-trucks-restaurants-and-a-tragedy/\" target=\"_blank\" rel=\"noopener\">evaluated the culinary aspect of the festival\u003c/a>, and we deduced that the best bang for one’s buck was found at the food trucks (especially Curry Up Now, Me So Hungry and Drewski’s, all of which return this year). The wait times were up to 30 minutes, though, since many seemed to choose the trucks over the gourmet fare, which included $20 pizza and $12 sushi rolls.\u003c/p>\n\u003cp>Napa Valley, wine wonderland, yadda yadda: if you’re interested, \u003ca href=\"http://www.pressdemocrat.com/lifestyle/3831729-181/bottlerock-2015-food-and-chef?page=0\" target=\"_blank\" rel=\"noopener\">here’s Heather Irwin’s rundown\u003c/a> of all the wineries, as well as all the Michelin-starred chefs, destination restaurants and cooking reality-show winners who’ll be slinging their creations at BottleRock 2015. The short version: good luck finding a simple hot dog.\u003c/p>\n\u003ch2>Besides the Bands\u003c/h2>\n\u003cp>That said, it’s the food vendors who are taking part in the most interesting non-musical feature of BottleRock: a fifth stage hosting collaborations between chefs and musicians. Pulling a page from the \u003ca href=\"https://instagram.com/p/rdOFSdSSZv/\" target=\"_blank\" rel=\"noopener\">Outside Lands handbook\u003c/a>, the festival is allowing Flavor Flav, for example, to discuss actual flavor with \u003cem>Top Chef\u003c/em> winner Michael Voltaggio. The \u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2015-set-times/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> includes 13 of these mashups, which also feature sports figures like Vernon Davis and Fred Couples, but easily the best of the bunch — and sure to be the most packed — is Snoop Dogg and Masaharu Morimoto, on stage, together at last. No one knows exactly what’s in store for the two, but if you’ve ever seen \u003ca href=\"http://www.marthastewart.com/245797/snoop-dogg#245797\" target=\"_blank\" rel=\"noopener\">Snoop make brownies with Martha Stewart\u003c/a>, you know you’re in for a treat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>BottleRock runs May 29-31 at the Napa Valley Expo in Napa. Single-day tickets are still available. More details over at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">BottleRock’s site\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10703708\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg\" alt=\"BottleRock 2014: the afterglow. (Photo: Gabe Meline)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10703708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/BottleRockNight-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">BottleRock 2014: the afterglow. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/spoon/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Spoon\u003c/h2>\n\u003cdiv class=\"event-desc\">Almighty purveyors of askew pop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/spoon/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since forming in 1993, Spoon has become one of the busiest and most reliable bands in the business, releasing eight critically acclaimed albums and touring near-constantly.\u003c/p>\n\u003cp>But… how well do \u003cem>you\u003c/em> know Spoon? Before their show at the Fox Theater in Oakland, on May 29, put your knowledge to the test with this quiz!\u003c/p>\n\u003cp>[polldaddy type=\"iframe\" survey=\"A2069D5E9D8654D0\" height=\"auto\" domain=\"kqed\" id=\"how-well-do-you-know-band-spoon\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "F.W. Murnau’s 'The Last Laugh' Gets a Bold New Sound",
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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/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Silent Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Pristine prints and premiere musicians.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28-Jun. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Creating a new score for a classic silent film is a big responsibility, one that Sheldon Mirowitz takes very seriously. A professor in the Berklee College of Music’s Film Scoring Department, he teaches a coveted class in which he leads a small group in creating a commissioned score for an iconic film from the silent era. The Berklee Silent Film Orchestra (BSFO) makes its West Coast debut Friday, May 29 at the Castro Theatre as part of the 20th annual \u003cstrong>\u003ca href=\"http://www.silentfilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/strong>, performing a recently premiered original score to F.W. Murnau’s 1924 masterpiece \u003cem>The Last Laugh\u003c/em>.\u003c/p>\n\u003cp>“This is our coming out party to the silent film community,” says Mirowitz, a long-time professor in the world’s only undergraduate degree program in film scoring. “It’s a wonderful movie. The main thing for me is that I want to do something that will help make it accessible so people can experience it the way it’s supposed to be. I don’t want to make this a concert with the film playing in the background. The film is already a masterpiece, and our score is going to make it even cooler.”\u003c/p>\n\u003cfigure id=\"attachment_10698145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10698145 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg\" alt=\"The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau's <i>The Last Laugh</i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau’s \u003ci>The Last Laugh\u003c/i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Last Laugh\u003c/em> stars the brilliant Swiss-born German/Austrian actor Emil Jannings, whose life trajectory in some ways echoes the fate of the film’s protagonist. A major star best known for his collaborations with Murnau and Josef von Sternberg, Jannings won the first Academy Award for best actor in 1927-28. Like so many silent era peers, the advent of sound ended his rise in Hollywood, but he thrived back in Europe, starring in classics like \u003cem>The Blue Angel\u003c/em> with Marlene Dietrich. But his willingness to work extensively with the Nazi regime meant he was barred from film after the war, and he died in obscurity in 1950.\u003c/p>\n\u003cp>Widely considered his greatest role, his chief porter in \u003cem>The Last Laugh\u003c/em> works in a luxurious hotel. The respect and dignity of his position evaporates when he’s demoted to restroom attendant, and the film explores his efforts to hide his humiliation from his family. For Friday’s screening, the Berklee Silent Film Orchestra performs their score to a new, \u003ca href=\"http://en.wikipedia.org/wiki/Digital_Cinema_Package\" target=\"_blank\" rel=\"noopener\">high-definition DCP print\u003c/a> of the film never previously seen in the U.S., obtained by the festival from the Friedrich Wilhelm Murnau Foundation.\u003c/p>\n\u003cp>With every member of Mirowitz’s class taking turns conducting and sometimes playing, each BSFO performance requires intricate choreography. The ensemble’s instrumentation features strings, woodwinds and brass.\u003c/p>\n\u003cfigure id=\"attachment_10698149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg\" alt=\"Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Allen Staats)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Orchestra640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. (Photo by Cory Staats)\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past five years, Mirowitz and his classes have scored nine classic silent features, including Sergei Eisenstein’s \u003cem>Battleship Potemkin\u003c/em>, Ewald André Dupont’s \u003cem>Piccadilly\u003c/em>, Murnau’s \u003cem>Faust\u003c/em>, Harold Lloyd’s \u003cem>Safety Last\u003c/em> and Rupert Julian’s \u003cem>Phantom of the Opera\u003c/em>, which were all commissioned by the Coolidge Corner Theatre in Brookline, Mass., as part of the theater’s \u003cstrong>\u003ca href=\"http://www.coolidge.org/programs/sounds-of-silents\" target=\"_blank\" rel=\"noopener\">Sounds of Silents\u003c/a>\u003c/strong> program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rather than treating the films as historical documents, Mirowitz approaches the movies as works of art with a vocabulary that’s largely unfamiliar to contemporary audiences. The job of the score is “to make the story come more alive,” he says. “We get to make it new.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco Silent Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Pristine prints and premiere musicians.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28-Jun. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-silent-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Creating a new score for a classic silent film is a big responsibility, one that Sheldon Mirowitz takes very seriously. A professor in the Berklee College of Music’s Film Scoring Department, he teaches a coveted class in which he leads a small group in creating a commissioned score for an iconic film from the silent era. The Berklee Silent Film Orchestra (BSFO) makes its West Coast debut Friday, May 29 at the Castro Theatre as part of the 20th annual \u003cstrong>\u003ca href=\"http://www.silentfilm.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/strong>, performing a recently premiered original score to F.W. Murnau’s 1924 masterpiece \u003cem>The Last Laugh\u003c/em>.\u003c/p>\n\u003cp>“This is our coming out party to the silent film community,” says Mirowitz, a long-time professor in the world’s only undergraduate degree program in film scoring. “It’s a wonderful movie. The main thing for me is that I want to do something that will help make it accessible so people can experience it the way it’s supposed to be. I don’t want to make this a concert with the film playing in the background. The film is already a masterpiece, and our score is going to make it even cooler.”\u003c/p>\n\u003cfigure id=\"attachment_10698145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10698145 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg\" alt=\"The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau's <i>The Last Laugh</i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/RehearsalLastLaugh-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Berklee Silent Film Orchestra rehearsing its new score to F.W. Murnau’s \u003ci>The Last Laugh\u003c/i>, Coolidge Corner Theatre, Brookline, Mass. (Courtesy of Berklee College of Music)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Last Laugh\u003c/em> stars the brilliant Swiss-born German/Austrian actor Emil Jannings, whose life trajectory in some ways echoes the fate of the film’s protagonist. A major star best known for his collaborations with Murnau and Josef von Sternberg, Jannings won the first Academy Award for best actor in 1927-28. 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For Friday’s screening, the Berklee Silent Film Orchestra performs their score to a new, \u003ca href=\"http://en.wikipedia.org/wiki/Digital_Cinema_Package\" target=\"_blank\" rel=\"noopener\">high-definition DCP print\u003c/a> of the film never previously seen in the U.S., obtained by the festival from the Friedrich Wilhelm Murnau Foundation.\u003c/p>\n\u003cp>With every member of Mirowitz’s class taking turns conducting and sometimes playing, each BSFO performance requires intricate choreography. The ensemble’s instrumentation features strings, woodwinds and brass.\u003c/p>\n\u003cfigure id=\"attachment_10698149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Orchestra640.jpg\" alt=\"Members of the Berklee Silent Film Orchestra before a performance at the Coolidge Corner Theatre. 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"content": "\u003cp>Eugene Rodriguez didn’t start out with any grand plans. Clutching a newly minted degree from the San Francisco Conservatory of Music, the guitarist figured he could do some good by teaching Mexican-American kids in the Richmond area about their cultural roots via mariachi, fandangos and Caribbean-inflected son jarocho.\u003c/p>\n\u003cp>A quarter century later, the institution he founded and directs, Los Cenzontles Cultural Arts Academy, is a creative powerhouse with international reach. The organization \u003ca href=\"http://www.loscenzontles.com/band/tour\" target=\"_blank\" rel=\"noopener\">celebrates its 25th anniversary Saturday, May 30\u003c/a>, with a family barbecue benefit featuring dance, raffles, a silent auction and a performance by the Los Cenzontles ensemble with Los Lobos guitarist David Hidalgo (one of many high-profile musical supporters who have collaborated with Los Cenzontles over the years).\u003c/p>\n\u003cp>Demographics and conditions in west Contra Costa County have changed since Rodriguez laid the foundation for Los Cenzontles (which means “the mockingbirds” in the indigenous language Nahautl), but he feels that the original mission is more crucial than ever. The first wave of kids who came into his orbit in the late 1980s were working class Mexican-Americans who grew up speaking English, “and then we had an immigration boom, and we dealt with that in real time, looking at the deeper functions of culture and tradition,” he says.\u003c/p>\n\u003cp>In many ways, Los Cenzontles was baptized in crisis. The organization traces its roots back to a 1989 California Arts Council artist-in-residency grant. In the early ’90s a crime wave that took the lives of several Richmond teenagers lit a fire under Rodriguez, “particularly the rape and murder of a 15-year-old girl Cecy Rios, who was friends with a lot of people at the center,” he recalls. “At the same time I was producing this record for Los Lobos, \u003cem>Papa’s Dream\u003c/em>, and those two events made it clear to me I needed to do more, and that’s why I incorporated the center as a non-profit. It opened the door to more kids and styles of music. Mexican music was becoming more popular with banda, and nobody else was providing vernacular musical training.”\u003c/p>\n\u003cp>So with the storefront cultural center in San Pablo serving as home base, Rodriguez built an arts academy. Many of his original students, who now make up the acclaimed Los Cenzontles ensemble, went on to become teachers at the center. Regular trips to Mexico connected Los Cenzontles to masters of various regional styles, traditions that were in danger of fading away due to neglect at home. A series of documentaries by Mexico City-based director and editor Ricardo Broajos captured the growing bonds between Los Cenzontles and older Mexican musicians, particularly the great Veracruz son jarocho ensemble Mono Blanco in \u003cem>Fandango: Searching For the White Monkey\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10697998\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg\" alt=\"David Hidalgo of Los Lobos\" width=\"456\" height=\"594\" class=\"size-full wp-image-10697998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo-400x521.jpg 400w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">David Hidalgo of Los Lobos, who share a longstanding association with the Academy.\u003c/figcaption>\u003c/figure>\n\u003cp>Back in the U.S., Los Cenzontles has collaborated with a dazzling array of artists, from Linda Ronstadt, Ry Cooder and Taj Mahal to zydeco wizard Andre Thierry and iconic Irish band the Chieftains. But it’s the relationship with Los Lobos that’s proven to be the most enduring. The first collaboration, the aforementioned 1995 children’s album \u003cem>Papa’s Dream\u003c/em>, earned a Grammy nomination. Produced by Rodriguez, the album paired Los Lobos with a children’s chorus from the cultural center and legendary Chicano artist/activist Lalo Guerrero.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Various members of Los Lobos have supported and collaborated with Los Cenzontles ever since, joining forces on a number of albums, including 2012’s \u003cem>Regeneration\u003c/em>. Co-produced by Hidalgo, the album was recorded partly at the cultural center, and features guest artists such as Jackson Browne, Raul Malo and Elvin Bishop. The connection between the great East L.A. band and the East Bay cultural center is undergirded by a shared commitment to communities whose culture is often undervalued and overlooked.\u003c/p>\n\u003cp>“Los Lobos has always been about staying true to who they are,” Rodriguez says. “It’s that commitment to keeping the voice real. And David Hidalgo in particular loves coming up to the Bay Area. He’s got that spiritual affinity for Jerry Garcia. He always wants to jam, and knock down the barriers between genres.”\u003c/p>\n\u003cp>So where does Los Cenzontles go from here? The organization is an exciting new phase, consulting with other community arts groups looking to replicate their model. In much the same that the ensemble is largely built upon former students who grew up at the cultural center, Los Cenzontles has a small but savvy corps who know how powerful it can be to turn a community on to its cultural patrimony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rodriguez isn’t resting on his laurels, but he is taking a minute to “look back on what we’ve done with a lot of pride,” he says. “We’ve involved so many families and kids and artists. We’ve acquired all this knowledge and created this model. It’s not an anonymous community conservatory. The place has been a second home for working class Mexican-American families, people who don’t necessarily feel comfortable in other places. They are the hosts and core leaders of this center, which is now renowned nationally.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eugene Rodriguez didn’t start out with any grand plans. Clutching a newly minted degree from the San Francisco Conservatory of Music, the guitarist figured he could do some good by teaching Mexican-American kids in the Richmond area about their cultural roots via mariachi, fandangos and Caribbean-inflected son jarocho.\u003c/p>\n\u003cp>A quarter century later, the institution he founded and directs, Los Cenzontles Cultural Arts Academy, is a creative powerhouse with international reach. The organization \u003ca href=\"http://www.loscenzontles.com/band/tour\" target=\"_blank\" rel=\"noopener\">celebrates its 25th anniversary Saturday, May 30\u003c/a>, with a family barbecue benefit featuring dance, raffles, a silent auction and a performance by the Los Cenzontles ensemble with Los Lobos guitarist David Hidalgo (one of many high-profile musical supporters who have collaborated with Los Cenzontles over the years).\u003c/p>\n\u003cp>Demographics and conditions in west Contra Costa County have changed since Rodriguez laid the foundation for Los Cenzontles (which means “the mockingbirds” in the indigenous language Nahautl), but he feels that the original mission is more crucial than ever. The first wave of kids who came into his orbit in the late 1980s were working class Mexican-Americans who grew up speaking English, “and then we had an immigration boom, and we dealt with that in real time, looking at the deeper functions of culture and tradition,” he says.\u003c/p>\n\u003cp>In many ways, Los Cenzontles was baptized in crisis. The organization traces its roots back to a 1989 California Arts Council artist-in-residency grant. In the early ’90s a crime wave that took the lives of several Richmond teenagers lit a fire under Rodriguez, “particularly the rape and murder of a 15-year-old girl Cecy Rios, who was friends with a lot of people at the center,” he recalls. “At the same time I was producing this record for Los Lobos, \u003cem>Papa’s Dream\u003c/em>, and those two events made it clear to me I needed to do more, and that’s why I incorporated the center as a non-profit. It opened the door to more kids and styles of music. Mexican music was becoming more popular with banda, and nobody else was providing vernacular musical training.”\u003c/p>\n\u003cp>So with the storefront cultural center in San Pablo serving as home base, Rodriguez built an arts academy. Many of his original students, who now make up the acclaimed Los Cenzontles ensemble, went on to become teachers at the center. Regular trips to Mexico connected Los Cenzontles to masters of various regional styles, traditions that were in danger of fading away due to neglect at home. A series of documentaries by Mexico City-based director and editor Ricardo Broajos captured the growing bonds between Los Cenzontles and older Mexican musicians, particularly the great Veracruz son jarocho ensemble Mono Blanco in \u003cem>Fandango: Searching For the White Monkey\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10697998\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg\" alt=\"David Hidalgo of Los Lobos\" width=\"456\" height=\"594\" class=\"size-full wp-image-10697998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DavidHidalgo-400x521.jpg 400w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">David Hidalgo of Los Lobos, who share a longstanding association with the Academy.\u003c/figcaption>\u003c/figure>\n\u003cp>Back in the U.S., Los Cenzontles has collaborated with a dazzling array of artists, from Linda Ronstadt, Ry Cooder and Taj Mahal to zydeco wizard Andre Thierry and iconic Irish band the Chieftains. But it’s the relationship with Los Lobos that’s proven to be the most enduring. The first collaboration, the aforementioned 1995 children’s album \u003cem>Papa’s Dream\u003c/em>, earned a Grammy nomination. Produced by Rodriguez, the album paired Los Lobos with a children’s chorus from the cultural center and legendary Chicano artist/activist Lalo Guerrero.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Various members of Los Lobos have supported and collaborated with Los Cenzontles ever since, joining forces on a number of albums, including 2012’s \u003cem>Regeneration\u003c/em>. Co-produced by Hidalgo, the album was recorded partly at the cultural center, and features guest artists such as Jackson Browne, Raul Malo and Elvin Bishop. The connection between the great East L.A. band and the East Bay cultural center is undergirded by a shared commitment to communities whose culture is often undervalued and overlooked.\u003c/p>\n\u003cp>“Los Lobos has always been about staying true to who they are,” Rodriguez says. “It’s that commitment to keeping the voice real. And David Hidalgo in particular loves coming up to the Bay Area. He’s got that spiritual affinity for Jerry Garcia. He always wants to jam, and knock down the barriers between genres.”\u003c/p>\n\u003cp>So where does Los Cenzontles go from here? The organization is an exciting new phase, consulting with other community arts groups looking to replicate their model. In much the same that the ensemble is largely built upon former students who grew up at the cultural center, Los Cenzontles has a small but savvy corps who know how powerful it can be to turn a community on to its cultural patrimony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rodriguez isn’t resting on his laurels, but he is taking a minute to “look back on what we’ve done with a lot of pride,” he says. “We’ve involved so many families and kids and artists. We’ve acquired all this knowledge and created this model. It’s not an anonymous community conservatory. The place has been a second home for working class Mexican-American families, people who don’t necessarily feel comfortable in other places. They are the hosts and core leaders of this center, which is now renowned nationally.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Becca Stevens Unleashes Her 'Perfect Animal'",
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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/maggie-nelson/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Becca Stevens\u003c/h2>\n\u003cdiv class=\"event-desc\">Two shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Kuumbwa Jazz\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://kuumbwajazz.org/calendar/becca-stevens-band/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/becca-stevens-perfect-animal/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Singer/songwriter Becca Stevens possesses an enviably talent-laden fan club. Jazz vocal peers like Kate McGarry, Gretchen Parlato and Kurt Elling have publicly hailed her as one of the most original young singers on the scene, and heavyweight players like Brad Mehldau, Esperanza Spalding, Ambrose Akinmusire and Eric Harland have recruited her for projects and recordings. Whatever context she’s working in, Stevens makes a vivid and enduring impression with her rhythmically charged guitar work and translucent sound.\u003c/p>\n\u003cp>Now, the 29-year-old New Yorker is about to break out as a bandleader in her own right. She celebrates the release of her gorgeous new album \u003cem>Perfect Animal\u003c/em> at Santa Cruz’s Kuumbwa Jazz Center on May 28 and Berkeley’s Freight & Salvage on June 2.\u003c/p>\n\u003cp>With a rock-inflected sensibility informed as much by American folk music and Björk as Billie Holiday, the album features her longtime collaborators, keyboardist/accordionist Liam Robinson, bassist Chris Tordini, and drummer/percussionist Jordan Perlson. Stevens has been performing with the three for years, but in some circles she’s still best known for her work as lead singer in saxophonist Travis Sullivan’s Björkestra, a big band she connected with as an undergrad at the New School. A self-described Björk obsessive, she approached Sullivan after a performance to offer her vocal services as a sub. When the chair opened up, she took over the role and made it her own, performing on the band’s 2008 album \u003cem>Enjoy!\u003c/em> (Koch). And though there’s an unmistakable Björkian current running through some of her serpentine melodic lines, Stevens embraces folk, alt-pop, postbop and European classical music as a birthright.\u003c/p>\n\u003cp>https://youtu.be/WkTGIM-SYxU\u003c/p>\n\u003cp>Growing up in Winston-Salem, she started performing with her family’s band the Tune Mammals at the age of two. Led by her father, a composer specializing in sacred choral music, the group performed his playfully folky original songs for children. Her mother, Carolyn Dorff, is an operatically trained singer with extensive experience in musical theater. At 10, Stevens starred with her in a yearlong Broadway touring production of \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’s been creating her own magical musical world ever since — a realm in which \u003cem>Perfect Animal\u003c/em> is just the latest strange and beautiful arrival.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maggie-nelson/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Becca Stevens\u003c/h2>\n\u003cdiv class=\"event-desc\">Two shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Kuumbwa Jazz\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://kuumbwajazz.org/calendar/becca-stevens-band/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/becca-stevens-perfect-animal/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Singer/songwriter Becca Stevens possesses an enviably talent-laden fan club. Jazz vocal peers like Kate McGarry, Gretchen Parlato and Kurt Elling have publicly hailed her as one of the most original young singers on the scene, and heavyweight players like Brad Mehldau, Esperanza Spalding, Ambrose Akinmusire and Eric Harland have recruited her for projects and recordings. Whatever context she’s working in, Stevens makes a vivid and enduring impression with her rhythmically charged guitar work and translucent sound.\u003c/p>\n\u003cp>Now, the 29-year-old New Yorker is about to break out as a bandleader in her own right. She celebrates the release of her gorgeous new album \u003cem>Perfect Animal\u003c/em> at Santa Cruz’s Kuumbwa Jazz Center on May 28 and Berkeley’s Freight & Salvage on June 2.\u003c/p>\n\u003cp>With a rock-inflected sensibility informed as much by American folk music and Björk as Billie Holiday, the album features her longtime collaborators, keyboardist/accordionist Liam Robinson, bassist Chris Tordini, and drummer/percussionist Jordan Perlson. Stevens has been performing with the three for years, but in some circles she’s still best known for her work as lead singer in saxophonist Travis Sullivan’s Björkestra, a big band she connected with as an undergrad at the New School. A self-described Björk obsessive, she approached Sullivan after a performance to offer her vocal services as a sub. When the chair opened up, she took over the role and made it her own, performing on the band’s 2008 album \u003cem>Enjoy!\u003c/em> (Koch). And though there’s an unmistakable Björkian current running through some of her serpentine melodic lines, Stevens embraces folk, alt-pop, postbop and European classical music as a birthright.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WkTGIM-SYxU'\n title='//www.youtube.com/embed/WkTGIM-SYxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Growing up in Winston-Salem, she started performing with her family’s band the Tune Mammals at the age of two. Led by her father, a composer specializing in sacred choral music, the group performed his playfully folky original songs for children. Her mother, Carolyn Dorff, is an operatically trained singer with extensive experience in musical theater. At 10, Stevens starred with her in a yearlong Broadway touring production of \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best new music released this month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/May_Best_of_Blogs_Bounce.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The deluge of new music released each month can be overwhelming, even for the most obsessive music consumer. Fortunately, you have us to help you separate the wheat from the chaff. Enjoy this mix of the best music released online over the past four weeks. This episode features new music from Leon Bridges, No Joy, Run The Jewels and more. \u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Seeds” — Moses Sumney, \u003ci>Seeds\u003c/i> 7”\u003c/li>\n\u003cli>“Waitress” — Hop Along, \u003ci>Painted Shut\u003c/i>\u003c/li>\n\u003cli>“Bust No Moves” — Run The Jewels ft. Cuz, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Moon In My Mouth” — No Joy, \u003ci>More Faithful\u003c/i>\u003c/li>\n\u003cli>“River” — Leon Bridges, \u003ci>Coming Home\u003c/i>\u003c/li>\n\u003cli>“Got Your Money” — Twin Peaks, \u003ci>Record Store Day B-Side\u003c/i>\u003c/li>\n\u003cli>“I Admit I’m Scared” — Eskimeaux, \u003ci>O.K.\u003c/i>\u003c/li>\n\u003cli>“Surrender” — Briana Marela, \u003ci>All Around Us\u003c/i>\u003c/li>\n\u003cli>“Cowboy Guilt” — Torres, \u003ci>Sprinter\u003c/i>\u003c/li>\n\u003cli>“Garden of Lavender” — Sun Kil Moon, \u003ci>Universal Themes\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best new music released this month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/May_Best_of_Blogs_Bounce.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The deluge of new music released each month can be overwhelming, even for the most obsessive music consumer. Fortunately, you have us to help you separate the wheat from the chaff. Enjoy this mix of the best music released online over the past four weeks. This episode features new music from Leon Bridges, No Joy, Run The Jewels and more. \u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Seeds” — Moses Sumney, \u003ci>Seeds\u003c/i> 7”\u003c/li>\n\u003cli>“Waitress” — Hop Along, \u003ci>Painted Shut\u003c/i>\u003c/li>\n\u003cli>“Bust No Moves” — Run The Jewels ft. Cuz, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Moon In My Mouth” — No Joy, \u003ci>More Faithful\u003c/i>\u003c/li>\n\u003cli>“River” — Leon Bridges, \u003ci>Coming Home\u003c/i>\u003c/li>\n\u003cli>“Got Your Money” — Twin Peaks, \u003ci>Record Store Day B-Side\u003c/i>\u003c/li>\n\u003cli>“I Admit I’m Scared” — Eskimeaux, \u003ci>O.K.\u003c/i>\u003c/li>\n\u003cli>“Surrender” — Briana Marela, \u003ci>All Around Us\u003c/i>\u003c/li>\n\u003cli>“Cowboy Guilt” — Torres, \u003ci>Sprinter\u003c/i>\u003c/li>\n\u003cli>“Garden of Lavender” — Sun Kil Moon, \u003ci>Universal Themes\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "mixtape-northern-californias-best-summer-indie-rock-festivals",
"title": "Mixtape: Northern California's Best Summer Indie-Rock Festivals",
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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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"headTitle": "Free Music Al Fresco: Where & When to Enjoy the Sounds of Summer | KQED",
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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",
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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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"excerpt": "With the club's ban on major-label bands lifted for one night, Green Day returned to their early stomping grounds for a nearly two-hour set to benefit those affected by the recent West Oakland fire.",
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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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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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