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"title": "A (Nearly) Comprehensive Guide to the Music of 'Mad Men'",
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"content": "\u003cp>Pay a visit to New York City’s Museum of the Moving Image to see its blockbuster show \u003cem>Matthew Weiner’s Mad Men\u003c/em>, and toward the end of the exhibit you will find a lonely kiosk. It’s easy to overlook — by the time you’ve waded through the throngs of museumgoers, and snaked your way through the \u003ca href=\"http://www.wnyc.org/story/how-mad-men-got-its-style/\" target=\"_blank\" rel=\"noopener\">lovingly preserved costumes\u003c/a> and \u003ca href=\"http://untappedcities.com/2015/03/11/step-onto-set-of-mad-men-in-exhibit-matthew-weiners-mad-men-at-museum-of-moving-image/\" target=\"_blank\" rel=\"noopener\">meticulously recreated sets\u003c/a> of Don Draper’s office and Betty Draper’s kitchen, this standee with a screen and two sets of dangling headphones feels like an afterthought.\u003c/p>\n\u003cp>This modest display commemorates the music of \u003cem>Mad Men\u003c/em> — touch the screen and pick a song. Show creator Matthew Weiner will tell you why Mr. Acker Bilk’s “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” a strangely sultry instrumental by a British clarinetist that happened to be \u003cem>Billboard\u003c/em>‘s No. 1 song of 1962, appeared on the show. Twice.\u003c/p>\n\u003cp>Given how much bric-a-brac is packed into the MOMI exhibit, it’s understandable that they couldn’t devote more space to \u003cem>Mad Men\u003c/em>‘s music — but really, this forlorn kiosk should be a surround-sound amphitheater. The music that Weiner has employed over seven seasons of his acclaimed AMC advertising-industry melodrama, which began its final half-season of episodes Sunday night, has been every bit as integral to the show’s thesis about 1960s America as its actors, costumes and production design. Especially if you’re a pop-chart nerd like me, the music of \u003cem>Mad Men\u003c/em> has felt smart, iconoclastic and (mostly) right on.\u003c/p>\n\u003cp>In telling the story of the fictional ad agency Sterling Cooper, Weiner has strived to capture the 1960s as they were lived, not the decade many selectively remember — \u003ca href=\"https://www.youtube.com/watch?v=CUh5bMjfBtE\" target=\"_blank\" rel=\"noopener\">the hagiographic “Sixties”\u003c/a> from countless documentaries and public-TV pledge drives — and that extends to the songs. \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>‘s “The Times They Are a-Changin'” hasn’t appeared once, nor has his “Blowin’ in the Wind.” There’s been no “For What It’s Worth” by the Buffalo Springfield, no “A Change Is Gonna Come” from \u003ca href=\"http://www.npr.org/artists/15402012/sam-cooke\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a>, nor even the Kingsmen’s “Louie, Louie.” \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a> made a (\u003ca href=\"http://artsbeat.blogs.nytimes.com/2012/05/07/how-mad-men-landed-the-beatles-all-you-need-is-love-and-250000/?_r=0\" target=\"_blank\" rel=\"noopener\">very expensive\u003c/a>) appearance in one episode, but it had nothing to do with \u003cem>Sgt. Pepper\u003c/em> or the Summer of Love; another time, when the Fabs’ “I Want to Hold Your Hand” was featured, it was only briefly whistled by lead character Don Draper. You’d think the Lovin’ Spoonful’s “Summer in the City” would have been a gimme, since the show is set in the dirty streets of pre–fiscal crisis New York, but nope.\u003c/p>\n\u003cp>Avoiding these great but overused songs would just be contrarianism by Weiner if he weren’t so exacting about the songs he \u003cem>does\u003c/em> include. Though they are unlikely to pop up on oldies radio today, many of \u003cem>Mad Men\u003c/em>‘s songs were megasmashes in their day. The fact is, on the radio and the charts, the ’60s was generally a pretty schmaltzy decade, not the nonstop Boomer-rock paradise of repute. (Yes, even the late ’60s.) Pick up any \u003ca href=\"http://www.amazon.com/The-Billboard-Book-Number-Hits/dp/0823076776\" target=\"_blank\" rel=\"noopener\">\u003cem>Billboard\u003c/em> book\u003c/a> commemorating the \u003ca href=\"http://www.npr.org/blogs/therecord/2013/08/16/207879695/how-the-hot-100-became-americas-hit-barometer\" target=\"_blank\" rel=\"noopener\">Hot 100\u003c/a> hits of yesteryear, and as you leaf through the ’60s you’ll be presented less with classics by Jimi Hendrix or The Who than by curios like the Singing Nun, The Tornados, Kyu Sakamoto, Paul Mauriat and Jeannie C. Riley. All of these one-hit-wonder acts have been showcased on \u003cem>Mad Men\u003c/em>, alongside a handful of undeniable classics by the Stones, The Beach Boys and Frank Sinatra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s fans have noticed, and appreciated, Weiner’s attention to musical minutiae — they have crowdsourced \u003ca href=\"http://www.tunefind.com/show/mad-men\" target=\"_blank\" rel=\"noopener\">lists of every detectable song in every episode\u003c/a>. One time, just before the show’s fifth-season premiere, some attentive critics even got Weiner to swap a Dusty Springfield song that was anachronistic to the season’s 1966 timeline by just a few months; \u003ca href=\"http://www.ew.com/article/2012/03/19/mad-men-song-change\" target=\"_blank\" rel=\"noopener\">he changed it\u003c/a> just before the episode aired, thanking the critics and attesting to his “deep appreciation for details.” (You don’t say, Matt.)\u003c/p>\n\u003cp>Below, I’ve collected a bunch of the show’s cleverest song choices since its 2007 premiere and, where applicable, run down some \u003cem>Billboard\u003c/em> chart stats. I’ve stuck to original recordings (so there’s no \u003ca href=\"https://www.youtube.com/watch?v=ngf2zHq4FEI\" target=\"_blank\" rel=\"noopener\">Megan Draper cooing “Zou Bisou Bisou”\u003c/a> here, captivating as that is) and grouped them by theme, to help try to answer to question of why the music in this show is so rewarding. As critic Hanna Rosin astutely \u003ca href=\"http://www.slate.com/articles/arts/tv_club/features/2015/mad_men_season_7_part_2/episode_1/mad_men_season_7_recapped_slate_s_tv_club_dissects_each_new_episode_1.html\" target=\"_blank\" rel=\"noopener\">notes\u003c/a> this week in \u003cem>Slate\u003c/em>, “Weiner has a genius for making scenes that are stagey and mannered yet nonetheless emotionally affecting, by capturing the small moments.” Indeed, the music of \u003cem>Mad Men\u003c/em> is often the stagiest thing about the show, and yet these small musical moments, many under a minute long, consistently pay off with delight and satisfaction — even when the song is as obvious as “Satisfaction.”\u003c/p>\n\u003ch3>\u003cstrong>Hit Instrumentals\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Percy Faith and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=BaXzeQoWTko\" target=\"_blank\" rel=\"noopener\">Theme from \u003cem>A Summer Place\u003c/em>\u003c/a>\u003cem>,\u003c/em>” No. 1, 1960 (\u003cem>Mad Men\u003c/em> season 2, episode 5, “The New Girl”)\u003c/li>\n\u003cli>The Tornados, “\u003ca href=\"https://www.youtube.com/watch?v=eBYdp84AwuU\" target=\"_blank\" rel=\"noopener\">Telstar\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 10, “The Inheritance”)\u003c/li>\n\u003cli>Mr. Acker Bilk, “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 13, “Meditations in an Emergency” and season 6, episode 11, “Favors”)\u003c/li>\n\u003cli>Herb Alpert & The Tijuana Brass, “\u003ca href=\"https://www.youtube.com/watch?v=dgcV8PrCLcs\" target=\"_blank\" rel=\"noopener\">Casino Royale\u003c/a>,” No. 27, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Paul Mauriat and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=QTo9-lmZ6oE\" target=\"_blank\" rel=\"noopener\">Love Is Blue\u003c/a>,” No. 1, 1968 (\u003cem>MM\u003c/em> season 6, episode 5, “The Flood”)\u003c/li>\n\u003c/ul>\n\u003cp>Sure, the ’60s had Motown, British Invasion, psychedelia — but the pop instrumental was a greater chart presence than many remember. \u003cem>Billboard\u003c/em>‘s No. 1 song of 1960 was Percy Faith’s “Theme from \u003cem>A Summer Place\u003c/em>,” and the aforementioned “Stranger on the Shore” was tops for 1962; both have appeared on \u003cem>Mad Men\u003c/em>. Trumpeter Herb Alpert and his Tijuana Brass also make a brief appearance — they were the \u003ca href=\"http://soundcheck.wnyc.org/story/315007-was-hit-chris-molanphy-herb-alperts-surprising-success/\" target=\"_blank\" rel=\"noopener\">second-biggest album-chart act of the ’60s\u003c/a>, after the Beatles.\u003c/p>\n\u003cp>So while most of \u003cem>Mad Men\u003c/em>‘s orchestral soundtrack is provided by the show’s longtime composer \u003ca href=\"http://strongplacemusic.com\" target=\"_blank\" rel=\"noopener\">David Carbonara\u003c/a>, Weiner has also seeded the show with instrumentals that were the aural wallpaper of their day. In 1962 alone, three instrumentals topped \u003cem>Billboard\u003c/em>‘s Hot 100 — the most ever in a single year — and in season two, set in ’62, two of these songs make appearances: Bilk’s “Stranger on the Shore,” and the short-lived British band the Tornados, with their \u003ca href=\"http://soundcheck.wnyc.org/story/that-was-hit-telstar/\" target=\"_blank\" rel=\"noopener\">space-age ode to a communications satellite\u003c/a> “Telstar.” (Oddly, the only ’62 instrumental chart-topper left untouched by Weiner is David Rose’s bawdy “\u003ca href=\"https://www.youtube.com/watch?v=5bLX06yR3wY\" target=\"_blank\" rel=\"noopener\">The Stripper\u003c/a>.”) “Telstar” is a particularly clever Easter egg, playing at the end of an \u003ca href=\"http://madmen.wikia.com/wiki/The_Inheritance\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> in which adman Don Draper strong-arms his way into a West Coast aerospace conference.\u003c/p>\n\u003cp>Even as the show enters the politically charged late ’60s, soothing instrumental hits keep on coming — Weiner juxtaposes heavy events with frilly mass culture to depict how America’s \u003ca href=\"http://chnm.gmu.edu/hardhats/silent.html\" target=\"_blank\" rel=\"noopener\">Silent Majority\u003c/a> pacified itself. In the season five \u003ca href=\"http://madmen.wikia.com/wiki/The_Phantom\" target=\"_blank\" rel=\"noopener\">finale\u003c/a>, as Draper visits a local movie palace, Alpert’s suave “Casino Royale” plays over the opening credits of the 1967 James Bond spoof of the same name; its appearance is incidental but also plays wittily off of Draper’s status as the show’s faux-Bond and serial \u003ca href=\"http://www.javasbachelorpad.com/whippedcream.html\" target=\"_blank\" rel=\"noopener\">bachelor\u003c/a>. By 1968 — the year of fiery protest, national tragedy and blues-rock — French orchestra leader Paul Mauriat was atop the charts with his baroque \u003ca href=\"http://www.wsj.com/articles/SB10001424052702304200804579163670969242120\" target=\"_blank\" rel=\"noopener\">harpsichord jam\u003c/a> “Love Is Blue.” It’s the closing song of the \u003ca href=\"http://madmen.wikia.com/wiki/The_Flood\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> dealing with the Martin Luther King Jr., assassination, the same episode that finds Don \u003ca href=\"http://blogs.artinfo.com/spotlight/2013/04/30/%E2%80%9Cmad-men%E2%80%9D-an-obsessive%E2%80%99s-guide-to-cultural-references-season-6-ep-5/\" target=\"_blank\" rel=\"noopener\">back at the movies with his son\u003c/a>, taking in \u003cem>Planet of the Apes\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Easy Listening\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Vic Damone, “\u003ca href=\"https://www.youtube.com/watch?v=dJ4yJM-vquw\" target=\"_blank\" rel=\"noopener\">On the Street Where You Live\u003c/a>,” No. 4, 1956 (MM season 1, episode 1, “Smoke Gets in Your Eyes”)\u003c/li>\n\u003cli>Jack Jones, “\u003ca href=\"https://www.youtube.com/watch?v=9EAELtJgD6A\" target=\"_blank\" rel=\"noopener\">Lollipops and Roses\u003c/a>,” No. 66, 1962 (\u003cem>MM\u003c/em> season 2, episode 3, “The Benefactor”)\u003c/li>\n\u003cli>Brenda Lee, “\u003ca href=\"http://www.dailymotion.com/video/x1140a2_brenda-lee-break-it-to-me-gently_music\" target=\"_blank\" rel=\"noopener\">Break It to Me Gently\u003c/a>,” No. 4, 1962 (\u003cem>MM\u003c/em> season 2, episode 7, “The Gold Violin”)\u003c/li>\n\u003cli>Patti Page, “\u003ca href=\"https://www.youtube.com/watch?v=HT2ao0rcxoA\" target=\"_blank\" rel=\"noopener\">Old Cape Cod\u003c/a>” No. 3, 1957 (\u003cem>MM\u003c/em> season 4, episode 3, “The Good News”)\u003c/li>\n\u003cli>Jim Reeves, “\u003ca href=\"https://www.youtube.com/watch?v=tOCCvN8YDuc\" target=\"_blank\" rel=\"noopener\">Welcome to My World\u003c/a>” No. 2 Country, 1964 (\u003cem>MM\u003c/em> season 4, episode 11, “Chinese Wall”)\u003c/li>\n\u003cli>Blood, Sweat & Tears, “\u003ca href=\"https://www.youtube.com/watch?v=VKuqaZ0DQtk\" target=\"_blank\" rel=\"noopener\">You’ve Made Me So Very Happy\u003c/a>,” No. 2, 1969 (MM season 7, episode 5, “The Runaways”)\u003c/li>\n\u003c/ul>\n\u003cp>Central to the premise of \u003cem>Mad Men\u003c/em> is that it is told through the eyes of pre–Baby Boomers, for whom the 1960s’ folkways and cultural uprisings come less as shocks than as irritants. The character of Don Draper was born in the 1920s, Roger Sterling in the 1910s; even young copywriter Peggy Olson’s birthdate precedes America’s entry into World War II. While some of the show’s sharpest moments find Draper, at the cusp of his forties, confronted by rock (we’ll get to that Beatles moment in a minute), Weiner also cossets Draper’s generation with songs they might find appealing — and not all of them were, at that point, oldies.\u003c/p>\n\u003cp>Scenes involving Don’s first wife Betty are often soundtracked with prerock songs, starting right with \u003cem>Mad Men\u003c/em>‘s premiere episode: As Don returns home to the suburbs after one of his urban assignations to an unaware Betty, the show concludes with a mid-’50s hit by crooner Vic Damone, “On the Street Where You Live” (taken from a musical, \u003cem>My Fair Lady\u003c/em>, that was still commanding Broadway in 1960). Or in season two, after a tense client dinner, Don and Betty drive home with the radio playing the syrupy 1962 ballad “Roses and Lollipops” — bitterly ironic as the alienated Betty weeps. And not all of these easy-listening chestnuts involve the show’s older characters. In season four, as Don gently flirts with (and is rebuffed by) the niece of his California secret-keeper Anna, he dances with the young woman to a Patti Page song that was a hit when he was 30 and she perhaps 12 — reinforcing the yawning generation gap between them.\u003c/p>\n\u003cp>One of my favorite musical moments of the entire series came in the first half of this final season, at a party thrown by Don’s second wife Megan in her new L.A. home. It’s the summer of ’69 — the dresses are short, the party guests stoned. And what edgy, street-fightin’ record is spinning on the hi-fi? The blowsy AM-radio staple “You’ve Made Me So Very Happy” by Blood Sweat & Tears, a nominal “rock” song with a schmaltz core that spent much of the prior spring parked in the \u003cem>Billboard\u003c/em> Top 10. It is exactly the kind of unhip song that would be playing at a party in 1969 (and exactly the kind of record no other TV show or movie set in the ’60s would have put on its soundtrack). As if knowing the song isn’t quite cool enough for her party, Megan pulls the record off and implores her musician friends to play.\u003c/p>\n\u003ch3>\u003cstrong>Quirky Smashes\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Bob Newhart, “\u003ca href=\"https://www.youtube.com/watch?v=BBMm00P3QT0\" target=\"_blank\" rel=\"noopener\">Driving Instructor\u003c/a>,” No. 1 album, 1960 (\u003cem>MM\u003c/em> season 1, episode 4, “New Amsterdam”)\u003c/li>\n\u003cli>Kyo Sakamoto, “\u003ca href=\"https://www.youtube.com/watch?v=jxIxX7mnsso\" target=\"_blank\" rel=\"noopener\">Sukiyaki\u003c/a>” No. 1, 1963 (\u003cem>MM\u003c/em> season 2, episode 2, “Flight 1”)\u003c/li>\n\u003cli>The Singing Nun, “\u003ca href=\"https://www.youtube.com/watch?v=n295hjktHD0\" target=\"_blank\" rel=\"noopener\">Dominique\u003c/a>,” No. 1, 1963 (\u003cem>MM\u003c/em> season 3, episode 10, “The Color Blue”)\u003c/li>\n\u003cli>Nashville Teens, “\u003ca href=\"https://www.youtube.com/watch?v=eGuZY6NVXqU\" target=\"_blank\" rel=\"noopener\">Tobacco Road\u003c/a>,” No. 14, 1964 (\u003cem>MM\u003c/em> season 4, episode 1, “Public Relations”)\u003c/li>\n\u003cli>Petula Clark, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>,” No. 3, 1965 (\u003cem>MM\u003c/em> season 4, episode 9, “The Beautiful Girls”)\u003c/li>\n\u003cli>Shirley Ellis, “\u003ca href=\"https://www.youtube.com/watch?v=5MJLi5_dyn0\" target=\"_blank\" rel=\"noopener\">The Name Game\u003c/a>,” No. 3, 1964–65 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Jeannie C. Riley, “\u003ca href=\"https://www.youtube.com/watch?v=aOZPBUu7Fro\" target=\"_blank\" rel=\"noopener\">Harper Valley P.T.A.\u003c/a>,” No. 1, 1968 (MM season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003c/ul>\n\u003cp>In a season one episode, four junior Sterling Cooper admen gather in oily executive Pete Campbell’s office to listen to a comedy album. Not just any album — it’s \u003ca href=\"http://stolendress.com/comedyonvinyl/Episode%202%20-%20Bob%20Newhart%20-%20The%20Button-Down%20Mind/expand-news_1.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Button-Down Mind of Bob Newhart\u003c/em>\u003c/a>, 1960’s top-selling LP and the first comedy disc to win the Grammy for Album of the Year (a feat repeated only one more time by a comedy disc, Vaughn Meader’s Kennedy-spoofing \u003cem>The First Family\u003c/em>). Here again is a side of the ’60s that Weiner unearths and celebrates — the curiosities, the detritus, the cheese, some of it surprisingly enduring. It takes a puckish sense of humor to feature a song by peppy British hitmaker Petula Clark, and then choose not her enduring smash “\u003ca href=\"https://www.youtube.com/watch?v=Zx06XNfDvk0\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” but rather its soundalike followup hit, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>.”\u003c/p>\n\u003cp>Many of these quirky hits are strategically placed for period-accurate ambience — and gentle commentary. When Don arrives at the apartment of his season three mistress, schoolteacher Suzanne Farrell, spinning on her turntable is the late-’63 French-language smash “Dominique” by the Singing Nun — a perfect encapsulation, for Don, of her alluring innocence. In season four, Shirley Ellis’s tongue-twisting, banana-fanna-fo-fanning hit “The Name Game” plays on the jukebox of a diner where Don brings his kids. In season six, when the too-old-to-be-hip Sterling Cooper men visit L.A. and attend a house party filled with poseurs and hangers-on, in the background is Jeannie C. Riley’s sassy, poseur-destroying 1968 chart-topper “Harper Valley P.T.A.”\u003c/p>\n\u003cp>TV bloggers did catch one apparent anachronism in the episode that features Kyo Sakamoto’s smash “Sukiyaki.” This \u003ca href=\"http://www.songfacts.com/detail.php?id=1230\" target=\"_blank\" rel=\"noopener\">mistitled\u003c/a>, \u003ca href=\"http://soundcheck.wnyc.org/story/298161-was-hit-many-lives-sukiyaki/\" target=\"_blank\" rel=\"noopener\">oft-covered\u003c/a> hit became the only all-Japanese song to top the U.S. charts in 1963. However, it appears in \u003cem>Mad Men\u003c/em>‘s season two premiere, set in the spring of 1962. Leave it to detail-oriented Weiner to find an escape hatch: The song was in fact first released in Japan in 1961, under its original title “Ue o Muite Arukō,” and in the episode, it’s playing as Don breaks up with a client at … a Japanese restaurant, one that could maybe, plausibly have had the record in its original pressing. As the Singing Nun might say, \u003cem>touché\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Deep Cuts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Peter, Paul & Mary, “\u003ca href=\"https://www.youtube.com/watch?v=jE8NSvD7LSE\" target=\"_blank\" rel=\"noopener\">Early in the Morning\u003c/a>,” No. 1 album, 1962 (\u003cem>MM\u003c/em> season 2, episode 8, “A Night to Remember”)\u003c/li>\n\u003cli>Bob Dylan, “\u003ca href=\"https://www.youtube.com/watch?v=UL4vZMFYXZk\" target=\"_blank\" rel=\"noopener\">Don’t Think Twice, Its All Right\u003c/a>,” 1963 (\u003cem>MM\u003c/em> season 1, episode 13, “The Wheel”)\u003c/li>\n\u003cli>Roy Orbison, “\u003ca href=\"https://www.youtube.com/watch?v=DyK5ew4m6JU\" target=\"_blank\" rel=\"noopener\">Shahdaroba\u003c/a>,” 1963 (MM season 3, episode 13, “Shut the Door. Have a Seat.”)\u003c/li>\n\u003cli>Simon & Garfunkel, “\u003ca href=\"https://www.youtube.com/watch?v=kIlHdCpY4Kw\" target=\"_blank\" rel=\"noopener\">Bleecker Street\u003c/a>,” 1964 (\u003cem>MM\u003c/em> season 4, episode 7, “The Suitcase”)\u003c/li>\n\u003cli>The Crystals, “\u003ca href=\"https://www.youtube.com/watch?v=f20Oz9Yr_So\" target=\"_blank\" rel=\"noopener\">He Hit Me (It Felt Like a Kiss)\u003c/a>,” 1962 (\u003cem>MM\u003c/em> season 5, episode 4, “Mystery Date”)\u003c/li>\n\u003cli>The Beach Boys, “\u003ca href=\"https://www.youtube.com/watch?v=NR7_TbMIVnA\" target=\"_blank\" rel=\"noopener\">I Just Wasn’t Made For These Times\u003c/a>” 1966 (MM season 5, episode 6, “Far Away Places”)\u003c/li>\n\u003cli>The Beatles, “\u003ca href=\"https://www.youtube.com/watch?v=5tV0l62RZ80\" target=\"_blank\" rel=\"noopener\">Tomorrow Never Knows\u003c/a>,” 1966 (\u003cem>MM\u003c/em> season 5, episode 8, “Lady Lazarus”)\u003c/li>\n\u003cli>Nancy Sinatra, “\u003ca href=\"https://www.youtube.com/watch?v=UY9kzLL2zD0\" target=\"_blank\" rel=\"noopener\">You Only Live Twice\u003c/a>,” No. 44, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Serge Gainsbourg & Brigitte Bardot, “\u003ca href=\"https://www.youtube.com/watch?v=dY9PY4r83p8\" target=\"_blank\" rel=\"noopener\">Bonnie and Clyde\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 6, episode 4, “To Have and to Hold”)\u003c/li>\n\u003cli>The Monkees, “\u003ca href=\"https://www.youtube.com/watch?v=mdd5xI9l7Ns\" target=\"_blank\" rel=\"noopener\">Porpoise Song (Theme from \u003cem>Head\u003c/em>)\u003c/a>,” No. 62, 1968 (\u003cem>MM\u003c/em> season 6, episode 12, “The Quality of Mercy”)\u003c/li>\n\u003cli>The Zombies, “\u003ca href=\"https://www.youtube.com/watch?v=kI2lTwY0Jx8\" target=\"_blank\" rel=\"noopener\">This Will Be Our Year\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 7, episode 2, “A Day’s Work”)\u003c/li>\n\u003c/ul>\n\u003cp>It would be nuts for Weiner to avoid totemic ’60s artists fully. Generally, when he has decided to invoke the decade’s folkie bards and pop eminences, he makes his song choices count — at least half the time, he chooses non-hits, invoking everyone from Roy Orbison to The Zombies without the accompanying \u003cem>duh\u003c/em> moment.\u003c/p>\n\u003cp>Peter, Paul and Mary’s 1962 debut album was a huge seller, but \u003cem>Mad Men\u003c/em> avoids its campfire hits (“If I Had a Hammer,” “Lemon Tree”) for the more definitive opener “Early in the Morning.” Speaking of PPM, they had the hit with “Don’t Think Twice, It’s All Right,” not Dylan, but it’s Bob’s version that closes the show’s first season, \u003ca href=\"http://www.pastemagazine.com/blogs/lists/2012/03/tonight-after-nearly-a-year.html\" target=\"_blank\" rel=\"noopener\">very memorably\u003c/a>. Hall of Fame producer Phil Spector is represented not by the Ronettes’ “Be My Baby” or the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” but rather the \u003ca href=\"http://www.songfacts.com/detail.php?id=2790\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a>, radio-banned and brutally ironic Crystals single “He Hit Me (It Felt Like a Kiss).” The Beach Boys and the Monkees, each band a prolific hitmaker, are represented by two of their trippiest non-hits. And since “You Only Live Twice” was actually one of Nancy Sinatra’s smaller ’60s hits, the song may now be more associated with Don Draper — how great was \u003ca href=\"https://www.youtube.com/watch?v=YocBfe1N598\">that season five finale montage\u003c/a>? — than James Bond.\u003c/p>\n\u003cp>As for the Fab Four, Weiner \u003ca href=\"http://blogs.courant.com/roger_catlin_tv_eye/2010/09/mad-men-going-to-the-beatles.html\" target=\"_blank\" rel=\"noopener\">telegraphed\u003c/a> the Beatles’ influence on the show (Don buying his daughter Sally’s affection with tickets to their 1965 Shea Stadium gig) long before he had the budget to license their music. When he finally did in 2012, he went with an especially heady Lennon cut — “Tomorrow Never Knows,” the closing track on the quite literally pivotal album \u003cem>Revolver\u003c/em> — and has an exasperated, unimpressed Draper lift the needle off the record before the song even finishes. NPR’s own Ann Powers \u003ca href=\"http://www.npr.org/blogs/therecord/2012/05/08/152287119/mad-mens-beatles-coup-misses-the-mark\" target=\"_blank\" rel=\"noopener\">questioned\u003c/a> Weiner’s use of the song, and whether it would ever have alienated a savvy ad man like Don. But let’s pause and admire Weiner’s chutzpah one more time: You have one quarter-million-dollar budget to devote to licensing one Beatles song — the very act is guaranteed media attention — and you choose one of their thorniest and least radio-friendly (albeit one of their greatest)? Talk about meta: Weiner’s “Tomorrow Never Knows” scene was his own \u003ca href=\"https://www.flickr.com/photos/sophieh/5534736604/\" target=\"_blank\" rel=\"noopener\">tobacco letter\u003c/a>, an advertisement for its own daring that became more about the show’s influence than about the show’s content. If it wasn’t one of \u003cem>Mad Men\u003c/em>‘s best musical moments, it was perhaps the show’s most savvy — Don Draper himself could have dreamed it up.\u003c/p>\n\u003ch3>\u003cstrong>Iconic Signposts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Chubby Checker, “\u003ca href=\"https://www.youtube.com/watch?v=pHGXwQeUk7M\">The Twist\u003c/a>,” No. 1, 1960 and No. 1, 1962 (\u003cem>MM\u003c/em> season 1, episode 8, “The Hobo Code”)\u003c/li>\n\u003cli>The Rolling Stones, “\u003ca href=\"https://www.youtube.com/watch?v=HoxRFOr_sQ0\" target=\"_blank\" rel=\"noopener\">(I Can’t Get No) Satisfaction\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 8, “The Summer Man”)\u003c/li>\n\u003cli>Sonny & Cher, “\u003ca href=\"https://www.youtube.com/watch?v=BERd61bDY7k\" target=\"_blank\" rel=\"noopener\">I Got You Babe\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Dusty Springfield, “\u003ca href=\"https://www.youtube.com/watch?v=QR4vE9xL3yk\" target=\"_blank\" rel=\"noopener\">You Don’t Have to Say You Love Me\u003c/a>,” No. 4, 1966 (\u003cem>MM\u003c/em> season 5, episode 1–2, “A Little Kiss”)\u003c/li>\n\u003cli>The Kinks, “\u003ca href=\"https://www.youtube.com/watch?v=dk3Ei_yoI4c\" target=\"_blank\" rel=\"noopener\">You Really Got Me\u003c/a>,” No. 7, 1964 (\u003cem>MM\u003c/em> season 5, episode 11, “The Other Woman”)\u003c/li>\n\u003cli>Big Brother and the Holding Company, “\u003ca href=\"https://www.youtube.com/watch?v=9hcxbIln3sc\" target=\"_blank\" rel=\"noopener\">Piece of My Heart\u003c/a>,” No. 12, 1968 (\u003cem>MM\u003c/em> season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003cli>Judy Collins, “\u003ca href=\"https://www.youtube.com/watch?v=A7Xm30heHms\" target=\"_blank\" rel=\"noopener\">Both Sides Now\u003c/a>” No. 8, 1968 (\u003cem>MM\u003c/em> season 6, episode 13, “In Care Of”)\u003c/li>\n\u003cli>The Spencer Davis Group, “\u003ca href=\"https://www.youtube.com/watch?v=POCUgBSVENQ\" target=\"_blank\" rel=\"noopener\">I’m a Man\u003c/a>,” No. 10, 1967 (\u003cem>MM\u003c/em> season 7, episode 1, “Time Zones”)\u003c/li>\n\u003cli>Waylon Jennings, “\u003ca href=\"https://www.youtube.com/watch?v=CPv5NZR_Wtk\" target=\"_blank\" rel=\"noopener\">Only Daddy That’ll Walk the Line\u003c/a>,” No. 2 Country, 1968 (\u003cem>MM\u003c/em> season 7, episode 5, “The Runaways”)\u003c/li>\n\u003cli>Frank Sinatra, “\u003ca href=\"https://vimeo.com/30105597\" target=\"_blank\" rel=\"noopener\">My Way\u003c/a>,” No. 27, 1969 (\u003cem>MM\u003c/em> season 7, episode 6, “The Strategy”)\u003c/li>\n\u003cli>Peggy Lee, “\u003ca href=\"https://www.youtube.com/watch?v=LCRZZC-DH7M\" target=\"_blank\" rel=\"noopener\">Is That All There Is?\u003c/a>” No. 11, 1969 (\u003cem>MM\u003c/em> season 7, episode 8, “Severance”)\u003c/li>\n\u003c/ul>\n\u003cp>Here’s the other half of the “totemic” category — the dozen or so of times \u003cem>Mad Men\u003c/em> has gone straight for the jugular, choosing songs that were not only huge hits but still clearly read as ’60s iconography. One of the very best came early: flirty Peggy Olson \u003ca href=\"https://www.youtube.com/watch?v=NJy8pZ5T0kQ\" target=\"_blank\" rel=\"noopener\">sidling up\u003c/a> to \u003ca href=\"http://petecampbellsbitchface.tumblr.com\" target=\"_blank\" rel=\"noopener\">bitch-faced\u003c/a> Pete Campbell to the strains of the 1960 über-smash “The Twist.” Super-obvious, right? But for those of us with \u003cem>Billboard\u003c/em> mojo, it’s a clever moment — Chubby Checker’s smash hit No. 1 twice (the only Hot 100 hit ever to do so), catching on first with teenagers before finding a toehold with club-going adults and topping the chart all over again. Peggy, \u003cem>Mad Men\u003c/em>‘s ultimate liminal character, is a one-woman representation of both audiences, twisting her arrival into self-assured adulthood. No wonder the petty, controlling Pete doesn’t want to dance with her.\u003c/p>\n\u003cp>“The Twist” is a rare early–\u003cem>Mad Men\u003c/em> example of a signpost hit. Most of these expensive-to-license smashes appeared after season four, suggesting Weiner was more hamstrung by his fledgling show’s budget early on than by any deliberate artistic choice. But even over the last few seasons, Weiner has spent his newfound clout on coveted songs just infrequently enough to make their appearance feel indelible rather than inevitable. If you’ve watched the show devotedly, I barely need to detail these killer scenes: Don “Summer Man” Draper \u003ca href=\"http://blogs.pioneerlocal.com/entertainment/madmen-summerman.jpg\" target=\"_blank\" rel=\"noopener\">roaming the streets\u003c/a> to the Stones’ “Satisfaction”; Peggy \u003ca href=\"https://www.youtube.com/watch?v=8i5SpIxx_A4#t=5m1s\" target=\"_blank\" rel=\"noopener\">ditching Sterling Cooper\u003c/a> with a sassy smirk to the Kinks’ “You Really Got Me”; Pete \u003ca href=\"https://www.youtube.com/watch?v=jTHg2ApnkO8\" target=\"_blank\" rel=\"noopener\">toking up\u003c/a> to the liberating yowl of Janis’s “Piece of My Heart”; Megan \u003ca href=\"https://www.youtube.com/watch?v=-qfYmNHyX80\" target=\"_blank\" rel=\"noopener\">picking up\u003c/a> Don at LAX in a convertible as Steve Winwood bleats Spencer Davis’s “I’m a Man”; Don and Peggy \u003ca href=\"https://www.youtube.com/watch?v=7Zp3qMGN-8U\" target=\"_blank\" rel=\"noopener\">slow-dancing\u003c/a> to Frank’s definitive “My Way.”\u003c/p>\n\u003cp>Most of these songs are not used \u003ca href=\"http://filmsound.org/terminology/diegetic.htm\" target=\"_blank\" rel=\"noopener\">diegetically\u003c/a> — “My Way” is playing on an on-screen radio, but otherwise it’s debatable whether, say, Peggy is thinking about the Kinks at her moment of freedom. But the fact that these songs were all big hits is essential to these scenes — they define the background of the characters’ lives. If Sunday’s first episode of season 7.2 is any indication, Weiner plans to keep deploying iconic tunes on his way to the exit. Peggy Lee’s immortal late-1969 single “Is That All There Is?” bookended the episode, an \u003ca href=\"http://www.vulture.com/2015/04/is-that-all-there-is-mad-men-peggy-lee.html\" target=\"_blank\" rel=\"noopener\">inevitable\u003c/a>, none-too-subtle evocation of the exhaustion of the ’60s and the protagonists’ emotional voids, even after getting everything they thought they wanted.\u003c/p>\n\u003cp>For me, though, none of these moments tops the most moving use of music in \u003cem>Mad Men\u003c/em>‘s history, the \u003ca href=\"https://www.youtube.com/watch?v=B4uXj5cB_I8\" target=\"_blank\" rel=\"noopener\">finale of season six\u003c/a>. Don has just been released by Sterling Cooper for self-immolating during a Hershey pitch, picking the worst possible moment to reveal his unhappy childhood and fraudulent biography to a key client. It’s Thanksgiving Day 1968, and Don picks up his kids — but before driving them to dinner, the confessional and newly unfettered Don brings them to a derelict, abandoned Victorian house now surrounded by projects: the seedy brothel from his childhood. “This,” Don tells the kids, “is where I grew up” — and up pops Judy Collins’s achingly beautiful cover of Joni Mitchell’s “Both Sides Now,” its \u003ca href=\"http://jonimitchell.com/music/song.cfm?id=83\" target=\"_blank\" rel=\"noopener\">lyrics\u003c/a> a dreamy fantasia pierced with self-lacerating regret (a Mitchell trademark). It’s the dialogue in Don’s head, in song.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One final detail: The week before Thanksgiving 1968, Collins’s “Both Sides Now” \u003ca href=\"http://books.google.com/books?id=vQoEAAAAMBAJ&lpg=PA1&pg=PA80#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">leapt into the Top 20 on the Hot 100\u003c/a>, on its way to a Top 10 peak just before Christmas. Teenage Sally Draper — or better yet, pubescent Bobby Draper — may well have owned the 45. Like every great musical moment over \u003cem>Mad Men\u003c/em>‘s seven seasons, it’s true to the story, true to the characters and true to life. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%28Nearly%29+Comprehensive+Guide+To+The+Music+Of+%27Mad+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "From \"The Twist\" to \"Is That All There Is?,\" the songs that \u003cem>Mad Men \u003c/em>uses to depict the 1960s are perfect — but often unpredictable — representations of the decade's slow evolution.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pay a visit to New York City’s Museum of the Moving Image to see its blockbuster show \u003cem>Matthew Weiner’s Mad Men\u003c/em>, and toward the end of the exhibit you will find a lonely kiosk. It’s easy to overlook — by the time you’ve waded through the throngs of museumgoers, and snaked your way through the \u003ca href=\"http://www.wnyc.org/story/how-mad-men-got-its-style/\" target=\"_blank\" rel=\"noopener\">lovingly preserved costumes\u003c/a> and \u003ca href=\"http://untappedcities.com/2015/03/11/step-onto-set-of-mad-men-in-exhibit-matthew-weiners-mad-men-at-museum-of-moving-image/\" target=\"_blank\" rel=\"noopener\">meticulously recreated sets\u003c/a> of Don Draper’s office and Betty Draper’s kitchen, this standee with a screen and two sets of dangling headphones feels like an afterthought.\u003c/p>\n\u003cp>This modest display commemorates the music of \u003cem>Mad Men\u003c/em> — touch the screen and pick a song. Show creator Matthew Weiner will tell you why Mr. Acker Bilk’s “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” a strangely sultry instrumental by a British clarinetist that happened to be \u003cem>Billboard\u003c/em>‘s No. 1 song of 1962, appeared on the show. Twice.\u003c/p>\n\u003cp>Given how much bric-a-brac is packed into the MOMI exhibit, it’s understandable that they couldn’t devote more space to \u003cem>Mad Men\u003c/em>‘s music — but really, this forlorn kiosk should be a surround-sound amphitheater. The music that Weiner has employed over seven seasons of his acclaimed AMC advertising-industry melodrama, which began its final half-season of episodes Sunday night, has been every bit as integral to the show’s thesis about 1960s America as its actors, costumes and production design. Especially if you’re a pop-chart nerd like me, the music of \u003cem>Mad Men\u003c/em> has felt smart, iconoclastic and (mostly) right on.\u003c/p>\n\u003cp>In telling the story of the fictional ad agency Sterling Cooper, Weiner has strived to capture the 1960s as they were lived, not the decade many selectively remember — \u003ca href=\"https://www.youtube.com/watch?v=CUh5bMjfBtE\" target=\"_blank\" rel=\"noopener\">the hagiographic “Sixties”\u003c/a> from countless documentaries and public-TV pledge drives — and that extends to the songs. \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>‘s “The Times They Are a-Changin'” hasn’t appeared once, nor has his “Blowin’ in the Wind.” There’s been no “For What It’s Worth” by the Buffalo Springfield, no “A Change Is Gonna Come” from \u003ca href=\"http://www.npr.org/artists/15402012/sam-cooke\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a>, nor even the Kingsmen’s “Louie, Louie.” \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a> made a (\u003ca href=\"http://artsbeat.blogs.nytimes.com/2012/05/07/how-mad-men-landed-the-beatles-all-you-need-is-love-and-250000/?_r=0\" target=\"_blank\" rel=\"noopener\">very expensive\u003c/a>) appearance in one episode, but it had nothing to do with \u003cem>Sgt. Pepper\u003c/em> or the Summer of Love; another time, when the Fabs’ “I Want to Hold Your Hand” was featured, it was only briefly whistled by lead character Don Draper. You’d think the Lovin’ Spoonful’s “Summer in the City” would have been a gimme, since the show is set in the dirty streets of pre–fiscal crisis New York, but nope.\u003c/p>\n\u003cp>Avoiding these great but overused songs would just be contrarianism by Weiner if he weren’t so exacting about the songs he \u003cem>does\u003c/em> include. Though they are unlikely to pop up on oldies radio today, many of \u003cem>Mad Men\u003c/em>‘s songs were megasmashes in their day. The fact is, on the radio and the charts, the ’60s was generally a pretty schmaltzy decade, not the nonstop Boomer-rock paradise of repute. (Yes, even the late ’60s.) Pick up any \u003ca href=\"http://www.amazon.com/The-Billboard-Book-Number-Hits/dp/0823076776\" target=\"_blank\" rel=\"noopener\">\u003cem>Billboard\u003c/em> book\u003c/a> commemorating the \u003ca href=\"http://www.npr.org/blogs/therecord/2013/08/16/207879695/how-the-hot-100-became-americas-hit-barometer\" target=\"_blank\" rel=\"noopener\">Hot 100\u003c/a> hits of yesteryear, and as you leaf through the ’60s you’ll be presented less with classics by Jimi Hendrix or The Who than by curios like the Singing Nun, The Tornados, Kyu Sakamoto, Paul Mauriat and Jeannie C. Riley. All of these one-hit-wonder acts have been showcased on \u003cem>Mad Men\u003c/em>, alongside a handful of undeniable classics by the Stones, The Beach Boys and Frank Sinatra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s fans have noticed, and appreciated, Weiner’s attention to musical minutiae — they have crowdsourced \u003ca href=\"http://www.tunefind.com/show/mad-men\" target=\"_blank\" rel=\"noopener\">lists of every detectable song in every episode\u003c/a>. One time, just before the show’s fifth-season premiere, some attentive critics even got Weiner to swap a Dusty Springfield song that was anachronistic to the season’s 1966 timeline by just a few months; \u003ca href=\"http://www.ew.com/article/2012/03/19/mad-men-song-change\" target=\"_blank\" rel=\"noopener\">he changed it\u003c/a> just before the episode aired, thanking the critics and attesting to his “deep appreciation for details.” (You don’t say, Matt.)\u003c/p>\n\u003cp>Below, I’ve collected a bunch of the show’s cleverest song choices since its 2007 premiere and, where applicable, run down some \u003cem>Billboard\u003c/em> chart stats. I’ve stuck to original recordings (so there’s no \u003ca href=\"https://www.youtube.com/watch?v=ngf2zHq4FEI\" target=\"_blank\" rel=\"noopener\">Megan Draper cooing “Zou Bisou Bisou”\u003c/a> here, captivating as that is) and grouped them by theme, to help try to answer to question of why the music in this show is so rewarding. As critic Hanna Rosin astutely \u003ca href=\"http://www.slate.com/articles/arts/tv_club/features/2015/mad_men_season_7_part_2/episode_1/mad_men_season_7_recapped_slate_s_tv_club_dissects_each_new_episode_1.html\" target=\"_blank\" rel=\"noopener\">notes\u003c/a> this week in \u003cem>Slate\u003c/em>, “Weiner has a genius for making scenes that are stagey and mannered yet nonetheless emotionally affecting, by capturing the small moments.” Indeed, the music of \u003cem>Mad Men\u003c/em> is often the stagiest thing about the show, and yet these small musical moments, many under a minute long, consistently pay off with delight and satisfaction — even when the song is as obvious as “Satisfaction.”\u003c/p>\n\u003ch3>\u003cstrong>Hit Instrumentals\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Percy Faith and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=BaXzeQoWTko\" target=\"_blank\" rel=\"noopener\">Theme from \u003cem>A Summer Place\u003c/em>\u003c/a>\u003cem>,\u003c/em>” No. 1, 1960 (\u003cem>Mad Men\u003c/em> season 2, episode 5, “The New Girl”)\u003c/li>\n\u003cli>The Tornados, “\u003ca href=\"https://www.youtube.com/watch?v=eBYdp84AwuU\" target=\"_blank\" rel=\"noopener\">Telstar\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 10, “The Inheritance”)\u003c/li>\n\u003cli>Mr. Acker Bilk, “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 13, “Meditations in an Emergency” and season 6, episode 11, “Favors”)\u003c/li>\n\u003cli>Herb Alpert & The Tijuana Brass, “\u003ca href=\"https://www.youtube.com/watch?v=dgcV8PrCLcs\" target=\"_blank\" rel=\"noopener\">Casino Royale\u003c/a>,” No. 27, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Paul Mauriat and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=QTo9-lmZ6oE\" target=\"_blank\" rel=\"noopener\">Love Is Blue\u003c/a>,” No. 1, 1968 (\u003cem>MM\u003c/em> season 6, episode 5, “The Flood”)\u003c/li>\n\u003c/ul>\n\u003cp>Sure, the ’60s had Motown, British Invasion, psychedelia — but the pop instrumental was a greater chart presence than many remember. \u003cem>Billboard\u003c/em>‘s No. 1 song of 1960 was Percy Faith’s “Theme from \u003cem>A Summer Place\u003c/em>,” and the aforementioned “Stranger on the Shore” was tops for 1962; both have appeared on \u003cem>Mad Men\u003c/em>. Trumpeter Herb Alpert and his Tijuana Brass also make a brief appearance — they were the \u003ca href=\"http://soundcheck.wnyc.org/story/315007-was-hit-chris-molanphy-herb-alperts-surprising-success/\" target=\"_blank\" rel=\"noopener\">second-biggest album-chart act of the ’60s\u003c/a>, after the Beatles.\u003c/p>\n\u003cp>So while most of \u003cem>Mad Men\u003c/em>‘s orchestral soundtrack is provided by the show’s longtime composer \u003ca href=\"http://strongplacemusic.com\" target=\"_blank\" rel=\"noopener\">David Carbonara\u003c/a>, Weiner has also seeded the show with instrumentals that were the aural wallpaper of their day. In 1962 alone, three instrumentals topped \u003cem>Billboard\u003c/em>‘s Hot 100 — the most ever in a single year — and in season two, set in ’62, two of these songs make appearances: Bilk’s “Stranger on the Shore,” and the short-lived British band the Tornados, with their \u003ca href=\"http://soundcheck.wnyc.org/story/that-was-hit-telstar/\" target=\"_blank\" rel=\"noopener\">space-age ode to a communications satellite\u003c/a> “Telstar.” (Oddly, the only ’62 instrumental chart-topper left untouched by Weiner is David Rose’s bawdy “\u003ca href=\"https://www.youtube.com/watch?v=5bLX06yR3wY\" target=\"_blank\" rel=\"noopener\">The Stripper\u003c/a>.”) “Telstar” is a particularly clever Easter egg, playing at the end of an \u003ca href=\"http://madmen.wikia.com/wiki/The_Inheritance\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> in which adman Don Draper strong-arms his way into a West Coast aerospace conference.\u003c/p>\n\u003cp>Even as the show enters the politically charged late ’60s, soothing instrumental hits keep on coming — Weiner juxtaposes heavy events with frilly mass culture to depict how America’s \u003ca href=\"http://chnm.gmu.edu/hardhats/silent.html\" target=\"_blank\" rel=\"noopener\">Silent Majority\u003c/a> pacified itself. In the season five \u003ca href=\"http://madmen.wikia.com/wiki/The_Phantom\" target=\"_blank\" rel=\"noopener\">finale\u003c/a>, as Draper visits a local movie palace, Alpert’s suave “Casino Royale” plays over the opening credits of the 1967 James Bond spoof of the same name; its appearance is incidental but also plays wittily off of Draper’s status as the show’s faux-Bond and serial \u003ca href=\"http://www.javasbachelorpad.com/whippedcream.html\" target=\"_blank\" rel=\"noopener\">bachelor\u003c/a>. By 1968 — the year of fiery protest, national tragedy and blues-rock — French orchestra leader Paul Mauriat was atop the charts with his baroque \u003ca href=\"http://www.wsj.com/articles/SB10001424052702304200804579163670969242120\" target=\"_blank\" rel=\"noopener\">harpsichord jam\u003c/a> “Love Is Blue.” It’s the closing song of the \u003ca href=\"http://madmen.wikia.com/wiki/The_Flood\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> dealing with the Martin Luther King Jr., assassination, the same episode that finds Don \u003ca href=\"http://blogs.artinfo.com/spotlight/2013/04/30/%E2%80%9Cmad-men%E2%80%9D-an-obsessive%E2%80%99s-guide-to-cultural-references-season-6-ep-5/\" target=\"_blank\" rel=\"noopener\">back at the movies with his son\u003c/a>, taking in \u003cem>Planet of the Apes\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Easy Listening\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Vic Damone, “\u003ca href=\"https://www.youtube.com/watch?v=dJ4yJM-vquw\" target=\"_blank\" rel=\"noopener\">On the Street Where You Live\u003c/a>,” No. 4, 1956 (MM season 1, episode 1, “Smoke Gets in Your Eyes”)\u003c/li>\n\u003cli>Jack Jones, “\u003ca href=\"https://www.youtube.com/watch?v=9EAELtJgD6A\" target=\"_blank\" rel=\"noopener\">Lollipops and Roses\u003c/a>,” No. 66, 1962 (\u003cem>MM\u003c/em> season 2, episode 3, “The Benefactor”)\u003c/li>\n\u003cli>Brenda Lee, “\u003ca href=\"http://www.dailymotion.com/video/x1140a2_brenda-lee-break-it-to-me-gently_music\" target=\"_blank\" rel=\"noopener\">Break It to Me Gently\u003c/a>,” No. 4, 1962 (\u003cem>MM\u003c/em> season 2, episode 7, “The Gold Violin”)\u003c/li>\n\u003cli>Patti Page, “\u003ca href=\"https://www.youtube.com/watch?v=HT2ao0rcxoA\" target=\"_blank\" rel=\"noopener\">Old Cape Cod\u003c/a>” No. 3, 1957 (\u003cem>MM\u003c/em> season 4, episode 3, “The Good News”)\u003c/li>\n\u003cli>Jim Reeves, “\u003ca href=\"https://www.youtube.com/watch?v=tOCCvN8YDuc\" target=\"_blank\" rel=\"noopener\">Welcome to My World\u003c/a>” No. 2 Country, 1964 (\u003cem>MM\u003c/em> season 4, episode 11, “Chinese Wall”)\u003c/li>\n\u003cli>Blood, Sweat & Tears, “\u003ca href=\"https://www.youtube.com/watch?v=VKuqaZ0DQtk\" target=\"_blank\" rel=\"noopener\">You’ve Made Me So Very Happy\u003c/a>,” No. 2, 1969 (MM season 7, episode 5, “The Runaways”)\u003c/li>\n\u003c/ul>\n\u003cp>Central to the premise of \u003cem>Mad Men\u003c/em> is that it is told through the eyes of pre–Baby Boomers, for whom the 1960s’ folkways and cultural uprisings come less as shocks than as irritants. The character of Don Draper was born in the 1920s, Roger Sterling in the 1910s; even young copywriter Peggy Olson’s birthdate precedes America’s entry into World War II. While some of the show’s sharpest moments find Draper, at the cusp of his forties, confronted by rock (we’ll get to that Beatles moment in a minute), Weiner also cossets Draper’s generation with songs they might find appealing — and not all of them were, at that point, oldies.\u003c/p>\n\u003cp>Scenes involving Don’s first wife Betty are often soundtracked with prerock songs, starting right with \u003cem>Mad Men\u003c/em>‘s premiere episode: As Don returns home to the suburbs after one of his urban assignations to an unaware Betty, the show concludes with a mid-’50s hit by crooner Vic Damone, “On the Street Where You Live” (taken from a musical, \u003cem>My Fair Lady\u003c/em>, that was still commanding Broadway in 1960). Or in season two, after a tense client dinner, Don and Betty drive home with the radio playing the syrupy 1962 ballad “Roses and Lollipops” — bitterly ironic as the alienated Betty weeps. And not all of these easy-listening chestnuts involve the show’s older characters. In season four, as Don gently flirts with (and is rebuffed by) the niece of his California secret-keeper Anna, he dances with the young woman to a Patti Page song that was a hit when he was 30 and she perhaps 12 — reinforcing the yawning generation gap between them.\u003c/p>\n\u003cp>One of my favorite musical moments of the entire series came in the first half of this final season, at a party thrown by Don’s second wife Megan in her new L.A. home. It’s the summer of ’69 — the dresses are short, the party guests stoned. And what edgy, street-fightin’ record is spinning on the hi-fi? The blowsy AM-radio staple “You’ve Made Me So Very Happy” by Blood Sweat & Tears, a nominal “rock” song with a schmaltz core that spent much of the prior spring parked in the \u003cem>Billboard\u003c/em> Top 10. It is exactly the kind of unhip song that would be playing at a party in 1969 (and exactly the kind of record no other TV show or movie set in the ’60s would have put on its soundtrack). As if knowing the song isn’t quite cool enough for her party, Megan pulls the record off and implores her musician friends to play.\u003c/p>\n\u003ch3>\u003cstrong>Quirky Smashes\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Bob Newhart, “\u003ca href=\"https://www.youtube.com/watch?v=BBMm00P3QT0\" target=\"_blank\" rel=\"noopener\">Driving Instructor\u003c/a>,” No. 1 album, 1960 (\u003cem>MM\u003c/em> season 1, episode 4, “New Amsterdam”)\u003c/li>\n\u003cli>Kyo Sakamoto, “\u003ca href=\"https://www.youtube.com/watch?v=jxIxX7mnsso\" target=\"_blank\" rel=\"noopener\">Sukiyaki\u003c/a>” No. 1, 1963 (\u003cem>MM\u003c/em> season 2, episode 2, “Flight 1”)\u003c/li>\n\u003cli>The Singing Nun, “\u003ca href=\"https://www.youtube.com/watch?v=n295hjktHD0\" target=\"_blank\" rel=\"noopener\">Dominique\u003c/a>,” No. 1, 1963 (\u003cem>MM\u003c/em> season 3, episode 10, “The Color Blue”)\u003c/li>\n\u003cli>Nashville Teens, “\u003ca href=\"https://www.youtube.com/watch?v=eGuZY6NVXqU\" target=\"_blank\" rel=\"noopener\">Tobacco Road\u003c/a>,” No. 14, 1964 (\u003cem>MM\u003c/em> season 4, episode 1, “Public Relations”)\u003c/li>\n\u003cli>Petula Clark, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>,” No. 3, 1965 (\u003cem>MM\u003c/em> season 4, episode 9, “The Beautiful Girls”)\u003c/li>\n\u003cli>Shirley Ellis, “\u003ca href=\"https://www.youtube.com/watch?v=5MJLi5_dyn0\" target=\"_blank\" rel=\"noopener\">The Name Game\u003c/a>,” No. 3, 1964–65 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Jeannie C. Riley, “\u003ca href=\"https://www.youtube.com/watch?v=aOZPBUu7Fro\" target=\"_blank\" rel=\"noopener\">Harper Valley P.T.A.\u003c/a>,” No. 1, 1968 (MM season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003c/ul>\n\u003cp>In a season one episode, four junior Sterling Cooper admen gather in oily executive Pete Campbell’s office to listen to a comedy album. Not just any album — it’s \u003ca href=\"http://stolendress.com/comedyonvinyl/Episode%202%20-%20Bob%20Newhart%20-%20The%20Button-Down%20Mind/expand-news_1.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Button-Down Mind of Bob Newhart\u003c/em>\u003c/a>, 1960’s top-selling LP and the first comedy disc to win the Grammy for Album of the Year (a feat repeated only one more time by a comedy disc, Vaughn Meader’s Kennedy-spoofing \u003cem>The First Family\u003c/em>). Here again is a side of the ’60s that Weiner unearths and celebrates — the curiosities, the detritus, the cheese, some of it surprisingly enduring. It takes a puckish sense of humor to feature a song by peppy British hitmaker Petula Clark, and then choose not her enduring smash “\u003ca href=\"https://www.youtube.com/watch?v=Zx06XNfDvk0\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” but rather its soundalike followup hit, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>.”\u003c/p>\n\u003cp>Many of these quirky hits are strategically placed for period-accurate ambience — and gentle commentary. When Don arrives at the apartment of his season three mistress, schoolteacher Suzanne Farrell, spinning on her turntable is the late-’63 French-language smash “Dominique” by the Singing Nun — a perfect encapsulation, for Don, of her alluring innocence. In season four, Shirley Ellis’s tongue-twisting, banana-fanna-fo-fanning hit “The Name Game” plays on the jukebox of a diner where Don brings his kids. In season six, when the too-old-to-be-hip Sterling Cooper men visit L.A. and attend a house party filled with poseurs and hangers-on, in the background is Jeannie C. Riley’s sassy, poseur-destroying 1968 chart-topper “Harper Valley P.T.A.”\u003c/p>\n\u003cp>TV bloggers did catch one apparent anachronism in the episode that features Kyo Sakamoto’s smash “Sukiyaki.” This \u003ca href=\"http://www.songfacts.com/detail.php?id=1230\" target=\"_blank\" rel=\"noopener\">mistitled\u003c/a>, \u003ca href=\"http://soundcheck.wnyc.org/story/298161-was-hit-many-lives-sukiyaki/\" target=\"_blank\" rel=\"noopener\">oft-covered\u003c/a> hit became the only all-Japanese song to top the U.S. charts in 1963. However, it appears in \u003cem>Mad Men\u003c/em>‘s season two premiere, set in the spring of 1962. Leave it to detail-oriented Weiner to find an escape hatch: The song was in fact first released in Japan in 1961, under its original title “Ue o Muite Arukō,” and in the episode, it’s playing as Don breaks up with a client at … a Japanese restaurant, one that could maybe, plausibly have had the record in its original pressing. As the Singing Nun might say, \u003cem>touché\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Deep Cuts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Peter, Paul & Mary, “\u003ca href=\"https://www.youtube.com/watch?v=jE8NSvD7LSE\" target=\"_blank\" rel=\"noopener\">Early in the Morning\u003c/a>,” No. 1 album, 1962 (\u003cem>MM\u003c/em> season 2, episode 8, “A Night to Remember”)\u003c/li>\n\u003cli>Bob Dylan, “\u003ca href=\"https://www.youtube.com/watch?v=UL4vZMFYXZk\" target=\"_blank\" rel=\"noopener\">Don’t Think Twice, Its All Right\u003c/a>,” 1963 (\u003cem>MM\u003c/em> season 1, episode 13, “The Wheel”)\u003c/li>\n\u003cli>Roy Orbison, “\u003ca href=\"https://www.youtube.com/watch?v=DyK5ew4m6JU\" target=\"_blank\" rel=\"noopener\">Shahdaroba\u003c/a>,” 1963 (MM season 3, episode 13, “Shut the Door. Have a Seat.”)\u003c/li>\n\u003cli>Simon & Garfunkel, “\u003ca href=\"https://www.youtube.com/watch?v=kIlHdCpY4Kw\" target=\"_blank\" rel=\"noopener\">Bleecker Street\u003c/a>,” 1964 (\u003cem>MM\u003c/em> season 4, episode 7, “The Suitcase”)\u003c/li>\n\u003cli>The Crystals, “\u003ca href=\"https://www.youtube.com/watch?v=f20Oz9Yr_So\" target=\"_blank\" rel=\"noopener\">He Hit Me (It Felt Like a Kiss)\u003c/a>,” 1962 (\u003cem>MM\u003c/em> season 5, episode 4, “Mystery Date”)\u003c/li>\n\u003cli>The Beach Boys, “\u003ca href=\"https://www.youtube.com/watch?v=NR7_TbMIVnA\" target=\"_blank\" rel=\"noopener\">I Just Wasn’t Made For These Times\u003c/a>” 1966 (MM season 5, episode 6, “Far Away Places”)\u003c/li>\n\u003cli>The Beatles, “\u003ca href=\"https://www.youtube.com/watch?v=5tV0l62RZ80\" target=\"_blank\" rel=\"noopener\">Tomorrow Never Knows\u003c/a>,” 1966 (\u003cem>MM\u003c/em> season 5, episode 8, “Lady Lazarus”)\u003c/li>\n\u003cli>Nancy Sinatra, “\u003ca href=\"https://www.youtube.com/watch?v=UY9kzLL2zD0\" target=\"_blank\" rel=\"noopener\">You Only Live Twice\u003c/a>,” No. 44, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Serge Gainsbourg & Brigitte Bardot, “\u003ca href=\"https://www.youtube.com/watch?v=dY9PY4r83p8\" target=\"_blank\" rel=\"noopener\">Bonnie and Clyde\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 6, episode 4, “To Have and to Hold”)\u003c/li>\n\u003cli>The Monkees, “\u003ca href=\"https://www.youtube.com/watch?v=mdd5xI9l7Ns\" target=\"_blank\" rel=\"noopener\">Porpoise Song (Theme from \u003cem>Head\u003c/em>)\u003c/a>,” No. 62, 1968 (\u003cem>MM\u003c/em> season 6, episode 12, “The Quality of Mercy”)\u003c/li>\n\u003cli>The Zombies, “\u003ca href=\"https://www.youtube.com/watch?v=kI2lTwY0Jx8\" target=\"_blank\" rel=\"noopener\">This Will Be Our Year\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 7, episode 2, “A Day’s Work”)\u003c/li>\n\u003c/ul>\n\u003cp>It would be nuts for Weiner to avoid totemic ’60s artists fully. Generally, when he has decided to invoke the decade’s folkie bards and pop eminences, he makes his song choices count — at least half the time, he chooses non-hits, invoking everyone from Roy Orbison to The Zombies without the accompanying \u003cem>duh\u003c/em> moment.\u003c/p>\n\u003cp>Peter, Paul and Mary’s 1962 debut album was a huge seller, but \u003cem>Mad Men\u003c/em> avoids its campfire hits (“If I Had a Hammer,” “Lemon Tree”) for the more definitive opener “Early in the Morning.” Speaking of PPM, they had the hit with “Don’t Think Twice, It’s All Right,” not Dylan, but it’s Bob’s version that closes the show’s first season, \u003ca href=\"http://www.pastemagazine.com/blogs/lists/2012/03/tonight-after-nearly-a-year.html\" target=\"_blank\" rel=\"noopener\">very memorably\u003c/a>. Hall of Fame producer Phil Spector is represented not by the Ronettes’ “Be My Baby” or the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” but rather the \u003ca href=\"http://www.songfacts.com/detail.php?id=2790\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a>, radio-banned and brutally ironic Crystals single “He Hit Me (It Felt Like a Kiss).” The Beach Boys and the Monkees, each band a prolific hitmaker, are represented by two of their trippiest non-hits. And since “You Only Live Twice” was actually one of Nancy Sinatra’s smaller ’60s hits, the song may now be more associated with Don Draper — how great was \u003ca href=\"https://www.youtube.com/watch?v=YocBfe1N598\">that season five finale montage\u003c/a>? — than James Bond.\u003c/p>\n\u003cp>As for the Fab Four, Weiner \u003ca href=\"http://blogs.courant.com/roger_catlin_tv_eye/2010/09/mad-men-going-to-the-beatles.html\" target=\"_blank\" rel=\"noopener\">telegraphed\u003c/a> the Beatles’ influence on the show (Don buying his daughter Sally’s affection with tickets to their 1965 Shea Stadium gig) long before he had the budget to license their music. When he finally did in 2012, he went with an especially heady Lennon cut — “Tomorrow Never Knows,” the closing track on the quite literally pivotal album \u003cem>Revolver\u003c/em> — and has an exasperated, unimpressed Draper lift the needle off the record before the song even finishes. NPR’s own Ann Powers \u003ca href=\"http://www.npr.org/blogs/therecord/2012/05/08/152287119/mad-mens-beatles-coup-misses-the-mark\" target=\"_blank\" rel=\"noopener\">questioned\u003c/a> Weiner’s use of the song, and whether it would ever have alienated a savvy ad man like Don. But let’s pause and admire Weiner’s chutzpah one more time: You have one quarter-million-dollar budget to devote to licensing one Beatles song — the very act is guaranteed media attention — and you choose one of their thorniest and least radio-friendly (albeit one of their greatest)? Talk about meta: Weiner’s “Tomorrow Never Knows” scene was his own \u003ca href=\"https://www.flickr.com/photos/sophieh/5534736604/\" target=\"_blank\" rel=\"noopener\">tobacco letter\u003c/a>, an advertisement for its own daring that became more about the show’s influence than about the show’s content. If it wasn’t one of \u003cem>Mad Men\u003c/em>‘s best musical moments, it was perhaps the show’s most savvy — Don Draper himself could have dreamed it up.\u003c/p>\n\u003ch3>\u003cstrong>Iconic Signposts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Chubby Checker, “\u003ca href=\"https://www.youtube.com/watch?v=pHGXwQeUk7M\">The Twist\u003c/a>,” No. 1, 1960 and No. 1, 1962 (\u003cem>MM\u003c/em> season 1, episode 8, “The Hobo Code”)\u003c/li>\n\u003cli>The Rolling Stones, “\u003ca href=\"https://www.youtube.com/watch?v=HoxRFOr_sQ0\" target=\"_blank\" rel=\"noopener\">(I Can’t Get No) Satisfaction\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 8, “The Summer Man”)\u003c/li>\n\u003cli>Sonny & Cher, “\u003ca href=\"https://www.youtube.com/watch?v=BERd61bDY7k\" target=\"_blank\" rel=\"noopener\">I Got You Babe\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Dusty Springfield, “\u003ca href=\"https://www.youtube.com/watch?v=QR4vE9xL3yk\" target=\"_blank\" rel=\"noopener\">You Don’t Have to Say You Love Me\u003c/a>,” No. 4, 1966 (\u003cem>MM\u003c/em> season 5, episode 1–2, “A Little Kiss”)\u003c/li>\n\u003cli>The Kinks, “\u003ca href=\"https://www.youtube.com/watch?v=dk3Ei_yoI4c\" target=\"_blank\" rel=\"noopener\">You Really Got Me\u003c/a>,” No. 7, 1964 (\u003cem>MM\u003c/em> season 5, episode 11, “The Other Woman”)\u003c/li>\n\u003cli>Big Brother and the Holding Company, “\u003ca href=\"https://www.youtube.com/watch?v=9hcxbIln3sc\" target=\"_blank\" rel=\"noopener\">Piece of My Heart\u003c/a>,” No. 12, 1968 (\u003cem>MM\u003c/em> season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003cli>Judy Collins, “\u003ca href=\"https://www.youtube.com/watch?v=A7Xm30heHms\" target=\"_blank\" rel=\"noopener\">Both Sides Now\u003c/a>” No. 8, 1968 (\u003cem>MM\u003c/em> season 6, episode 13, “In Care Of”)\u003c/li>\n\u003cli>The Spencer Davis Group, “\u003ca href=\"https://www.youtube.com/watch?v=POCUgBSVENQ\" target=\"_blank\" rel=\"noopener\">I’m a Man\u003c/a>,” No. 10, 1967 (\u003cem>MM\u003c/em> season 7, episode 1, “Time Zones”)\u003c/li>\n\u003cli>Waylon Jennings, “\u003ca href=\"https://www.youtube.com/watch?v=CPv5NZR_Wtk\" target=\"_blank\" rel=\"noopener\">Only Daddy That’ll Walk the Line\u003c/a>,” No. 2 Country, 1968 (\u003cem>MM\u003c/em> season 7, episode 5, “The Runaways”)\u003c/li>\n\u003cli>Frank Sinatra, “\u003ca href=\"https://vimeo.com/30105597\" target=\"_blank\" rel=\"noopener\">My Way\u003c/a>,” No. 27, 1969 (\u003cem>MM\u003c/em> season 7, episode 6, “The Strategy”)\u003c/li>\n\u003cli>Peggy Lee, “\u003ca href=\"https://www.youtube.com/watch?v=LCRZZC-DH7M\" target=\"_blank\" rel=\"noopener\">Is That All There Is?\u003c/a>” No. 11, 1969 (\u003cem>MM\u003c/em> season 7, episode 8, “Severance”)\u003c/li>\n\u003c/ul>\n\u003cp>Here’s the other half of the “totemic” category — the dozen or so of times \u003cem>Mad Men\u003c/em> has gone straight for the jugular, choosing songs that were not only huge hits but still clearly read as ’60s iconography. One of the very best came early: flirty Peggy Olson \u003ca href=\"https://www.youtube.com/watch?v=NJy8pZ5T0kQ\" target=\"_blank\" rel=\"noopener\">sidling up\u003c/a> to \u003ca href=\"http://petecampbellsbitchface.tumblr.com\" target=\"_blank\" rel=\"noopener\">bitch-faced\u003c/a> Pete Campbell to the strains of the 1960 über-smash “The Twist.” Super-obvious, right? But for those of us with \u003cem>Billboard\u003c/em> mojo, it’s a clever moment — Chubby Checker’s smash hit No. 1 twice (the only Hot 100 hit ever to do so), catching on first with teenagers before finding a toehold with club-going adults and topping the chart all over again. Peggy, \u003cem>Mad Men\u003c/em>‘s ultimate liminal character, is a one-woman representation of both audiences, twisting her arrival into self-assured adulthood. No wonder the petty, controlling Pete doesn’t want to dance with her.\u003c/p>\n\u003cp>“The Twist” is a rare early–\u003cem>Mad Men\u003c/em> example of a signpost hit. Most of these expensive-to-license smashes appeared after season four, suggesting Weiner was more hamstrung by his fledgling show’s budget early on than by any deliberate artistic choice. But even over the last few seasons, Weiner has spent his newfound clout on coveted songs just infrequently enough to make their appearance feel indelible rather than inevitable. If you’ve watched the show devotedly, I barely need to detail these killer scenes: Don “Summer Man” Draper \u003ca href=\"http://blogs.pioneerlocal.com/entertainment/madmen-summerman.jpg\" target=\"_blank\" rel=\"noopener\">roaming the streets\u003c/a> to the Stones’ “Satisfaction”; Peggy \u003ca href=\"https://www.youtube.com/watch?v=8i5SpIxx_A4#t=5m1s\" target=\"_blank\" rel=\"noopener\">ditching Sterling Cooper\u003c/a> with a sassy smirk to the Kinks’ “You Really Got Me”; Pete \u003ca href=\"https://www.youtube.com/watch?v=jTHg2ApnkO8\" target=\"_blank\" rel=\"noopener\">toking up\u003c/a> to the liberating yowl of Janis’s “Piece of My Heart”; Megan \u003ca href=\"https://www.youtube.com/watch?v=-qfYmNHyX80\" target=\"_blank\" rel=\"noopener\">picking up\u003c/a> Don at LAX in a convertible as Steve Winwood bleats Spencer Davis’s “I’m a Man”; Don and Peggy \u003ca href=\"https://www.youtube.com/watch?v=7Zp3qMGN-8U\" target=\"_blank\" rel=\"noopener\">slow-dancing\u003c/a> to Frank’s definitive “My Way.”\u003c/p>\n\u003cp>Most of these songs are not used \u003ca href=\"http://filmsound.org/terminology/diegetic.htm\" target=\"_blank\" rel=\"noopener\">diegetically\u003c/a> — “My Way” is playing on an on-screen radio, but otherwise it’s debatable whether, say, Peggy is thinking about the Kinks at her moment of freedom. But the fact that these songs were all big hits is essential to these scenes — they define the background of the characters’ lives. If Sunday’s first episode of season 7.2 is any indication, Weiner plans to keep deploying iconic tunes on his way to the exit. Peggy Lee’s immortal late-1969 single “Is That All There Is?” bookended the episode, an \u003ca href=\"http://www.vulture.com/2015/04/is-that-all-there-is-mad-men-peggy-lee.html\" target=\"_blank\" rel=\"noopener\">inevitable\u003c/a>, none-too-subtle evocation of the exhaustion of the ’60s and the protagonists’ emotional voids, even after getting everything they thought they wanted.\u003c/p>\n\u003cp>For me, though, none of these moments tops the most moving use of music in \u003cem>Mad Men\u003c/em>‘s history, the \u003ca href=\"https://www.youtube.com/watch?v=B4uXj5cB_I8\" target=\"_blank\" rel=\"noopener\">finale of season six\u003c/a>. Don has just been released by Sterling Cooper for self-immolating during a Hershey pitch, picking the worst possible moment to reveal his unhappy childhood and fraudulent biography to a key client. It’s Thanksgiving Day 1968, and Don picks up his kids — but before driving them to dinner, the confessional and newly unfettered Don brings them to a derelict, abandoned Victorian house now surrounded by projects: the seedy brothel from his childhood. “This,” Don tells the kids, “is where I grew up” — and up pops Judy Collins’s achingly beautiful cover of Joni Mitchell’s “Both Sides Now,” its \u003ca href=\"http://jonimitchell.com/music/song.cfm?id=83\" target=\"_blank\" rel=\"noopener\">lyrics\u003c/a> a dreamy fantasia pierced with self-lacerating regret (a Mitchell trademark). It’s the dialogue in Don’s head, in song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One final detail: The week before Thanksgiving 1968, Collins’s “Both Sides Now” \u003ca href=\"http://books.google.com/books?id=vQoEAAAAMBAJ&lpg=PA1&pg=PA80#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">leapt into the Top 20 on the Hot 100\u003c/a>, on its way to a Top 10 peak just before Christmas. Teenage Sally Draper — or better yet, pubescent Bobby Draper — may well have owned the 45. Like every great musical moment over \u003cem>Mad Men\u003c/em>‘s seven seasons, it’s true to the story, true to the characters and true to life. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%28Nearly%29+Comprehensive+Guide+To+The+Music+Of+%27Mad+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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/concert-for-justice/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Concert for Justice\u003c/h2>\n\u003cdiv class=\"event-desc\">Hip-hop benefit for Eric Garner’s family.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/concert-for-justice/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Matt Geffen felt helpless. \u003c/p>\n\u003cp>A sophomore at Marin Academy in San Rafael, Geffen was shocked and moved by the video circulating all over social media, showing Staten Island law enforcement fatally asphyxiating Eric Garner in an illegal chokehold on the sidewalk. He followed the outpouring of anger on social media, saw his favorite artists release songs about the incident, and watched protesters march down Telegraph Ave. in Berkeley. But “most importantly,” Geffen tells me, “I saw a conversation about injustice and racism take place and stop as quickly as it started. That was the part that really bothered me.”\u003c/p>\n\u003cp>Geffen didn’t want the conversation to die. Teaming up with Oakland arts group HGMNY, he started contacting hip-hop artists — Childish Gambino, Macklemore, Watsky, Lil B, anyone — in an effort to put together a benefit for Garner’s family. Casey Veggies, who sprung from Los Angeles’ Odd Future collective, signed on. So did Dizzy Wright, the Billboard-charting rapper from Las Vegas. Finally, Pell, a rapper from New Orleans displaced by Hurricane Katrina and now based in Mississippi, confirmed as well. All three agreed to perform for reduced fees. The New Parish offered their stage at a reduced rate.\u003c/p>\n\u003cp>Geffen started feeling less helpless.\u003c/p>\n\u003cp>“The outpouring of support was definitely something that kept us motivated,” Geffen says, noting that law enforcement’s disproportionate targeting of black males and overreach of authority is a coast-to-coast issue. “Not just in Marin City, but in Marin as a whole, I see groups of people powerless against police force. Whether it’s the homeless or the mentally ill, police brutality isn’t entirely a racial issue, but rather an abuse of power issue. You know there’s something wrong with the relationship between the police and the community when there are entire ethnic groups and minorities living in fear of being pulled over for their skin color or being frisked just because they don’t know where they will spend the night.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Special guests at the show on April 9 include Garner’s eldest daughter Erica Garner, who hosts the show, and Rev. Wanda Johnson, the mother of Oscar Grant, who will speak from the stage. “Eric Garner might have been killed in New York, but Oscar Grant was killed less than five miles from where the benefit is taking place,” Geffen says, “and the next name we see in the headlines might be someone killed in our backyard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All profits from the night will be donated to the family of Eric Garner. What’s more, the conversation will keep going. It has to.\u003c/p>\n\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Waxahatchee, Clark, Culture Abuse, Ride and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_April_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>It sure is a great time to be a fan of classic dream-pop and shoegaze music, with the recently-reunited \u003cstrong>\u003ca href=\"https://www.facebook.com/RideOX4\">Ride\u003c/a>\u003c/strong> hitting the U.S. this month for their first stateside shows in 20 years. By contrast, Warren Defever, leader of longtime 4AD act \u003cstrong>\u003ca href=\"http://www.hisnameisalive.com/\">His Name is Alive\u003c/a>\u003c/strong>, has kept that band actively releasing records since its inception, but the experimental group’s 25th anniversary tour across the United States is certainly a notable event. And these highlights are to say nothing of the Jesus & Mary Chain’s arrival here next month.\u003c/p>\n\u003cp>A number of former locals are also playing big shows in April. \u003cstrong>\u003ca href=\"https://www.facebook.com/thesoftmoon\">The Soft Moon\u003c/a>\u003c/strong> first gained acclaim while based in Oakland, but Luis Vasquez relocated to Europe to create his dark electronic-pop album \u003cem>Deeper\u003c/em>. Meanwhile, \u003cstrong>\u003ca href=\"https://www.facebook.com/wovepartnership\">Wove\u003c/a>\u003c/strong>’s heavy guitar-driven jams are sure to sound great at the Great American Music Hall. The show is the biggest local date yet for the new band, which evolved out of Nate Mercereau’s beloved A Million Billion Dying Suns.\u003c/p>\n\u003cp>On the local front, Oakland “hard mod” band \u003cstrong>\u003ca href=\"https://www.facebook.com/hardleft77\">Hard Left\u003c/a>\u003c/strong>, which includes Slumberland Records’ Mike Schulman, is releasing its debut LP \u003cem>We Are Hard Left\u003c/em> with a Hemlock Tavern show. If you’re more inclined toward indie pop, be sure to check out \u003cem>Nowhere Now\u003c/em>, the first full-length from Oakland’s \u003cstrong>\u003ca href=\"https://www.facebook.com/waterstridermusic\">Waterstrider\u003c/a>\u003c/strong>. Finally, regardless of your concert budget, there’s a great free show at the Brick & Mortar Music Hall on April 7 with \u003cstrong>\u003ca href=\"http://cultureabuse.bandcamp.com/\">Culture Abuse\u003c/a>\u003c/strong>; we’ve included a track from them in the mix, but Scraper and Never Young are awesome local bands on the bill as well.\u003c/p>\n\u003cp>Enjoy the podcast… and then go see some concerts!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ladylambjams\">Lady Lamb\u003c/a>\u003c/strong> – “Billions of Eyes”\u003cbr>\nJoined by Rathborne and Sea Knight, Aly Spaltro comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on April 25.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/The-Strange-Land/461954940540901\">The Strange Land\u003c/a>\u003c/strong> – “Specter”\u003cbr>\nOpening for Wand and CCR Headcleaner on April 15 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hardleft77\">Hard Left\u003c/a>\u003c/strong> – “Kicking It Off”\u003cbr>\nReleasing \u003cem>We Are Hard Left\u003c/em> with a show at the Hemlock Tavern on April 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waxahatchee\">Waxahatchee\u003c/a>\u003c/strong> – “Air”\t\u003cbr>\nPerforming alongside Girlpool and Crabapple on April 29 at the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=4&dyear=2015\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/throttleclark\">Clark\u003c/a>\u003c/strong> – “Winter Linn”\u003cbr>\nOn April 23, Clark’s tour with Nosaj Thing comes to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dinnerveryofficial\">Dinner\u003c/a>\u003c/strong> – “Going Out”\u003cbr>\nSupporting Mac DeMarco on April 20 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/brogan-bentley\">Brogan Bentley\u003c/a>\u003c/strong> – “Smoke”\u003cbr>\nPerforming at \u003ca href=\"http://www.pushthefeeling.com/\">Underground SF\u003c/a> on April 4 and \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on April 25.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://cultureabuse.bandcamp.com/\">Culture Abuse\u003c/a>\u003c/strong> – “Take It Out On Yourself”\u003cbr>\nPlaying a free show on April 7 at the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> with fellow locals Scraper and Never Young.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wovepartnership\">Wove\u003c/a>\u003c/strong> – “On and On”\u003cbr>\nCo-headlining the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=4&dyear=2015\">Great American Music Hall\u003c/a> on April 18 with Creepers; Chasms and Emotional also perform.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterstridermusic\">Waterstrider\u003c/a>\u003c/strong> – “White Light”\u003cbr>\nOn April 30, the Oakland band celebrates the release of \u003cem>Nowhere Now\u003c/em> with In the Valley Below and Freedom Fry at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thesoftmoon\">The Soft Moon\u003c/a>\u003c/strong> – “Black”\u003cbr>\nGirl Tears and Skull Katalog support The Soft Moon at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on April 28.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/RideOX4\">Ride\u003c/a>\u003c/strong> – “Leave Them All Behind”\u003cbr>\nThe reunited band performs at \u003ca href=\"http://www.thewarfieldtheatre.com/\">The Warfield\u003c/a> on April 13.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kathryncalder\">Kathryn Calder\u003c/a>\u003c/strong> – “Take A Little Time”\u003cbr>\nComing to the \u003ca href=\"http://www.hotelutah.com/calendar\">Hotel Utah\u003c/a> on April 29 with Ismay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.hisnameisalive.com/\">His Name is Alive\u003c/a>\u003c/strong> – “African Violet Casts A Spell”\u003cbr>\nOn April 7, the band’s 25th anniversary tour comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>; Future Twin and Golden Drugs open the show.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Waxahatchee, Clark, Culture Abuse, Ride and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_April_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>It sure is a great time to be a fan of classic dream-pop and shoegaze music, with the recently-reunited \u003cstrong>\u003ca href=\"https://www.facebook.com/RideOX4\">Ride\u003c/a>\u003c/strong> hitting the U.S. this month for their first stateside shows in 20 years. By contrast, Warren Defever, leader of longtime 4AD act \u003cstrong>\u003ca href=\"http://www.hisnameisalive.com/\">His Name is Alive\u003c/a>\u003c/strong>, has kept that band actively releasing records since its inception, but the experimental group’s 25th anniversary tour across the United States is certainly a notable event. And these highlights are to say nothing of the Jesus & Mary Chain’s arrival here next month.\u003c/p>\n\u003cp>A number of former locals are also playing big shows in April. \u003cstrong>\u003ca href=\"https://www.facebook.com/thesoftmoon\">The Soft Moon\u003c/a>\u003c/strong> first gained acclaim while based in Oakland, but Luis Vasquez relocated to Europe to create his dark electronic-pop album \u003cem>Deeper\u003c/em>. Meanwhile, \u003cstrong>\u003ca href=\"https://www.facebook.com/wovepartnership\">Wove\u003c/a>\u003c/strong>’s heavy guitar-driven jams are sure to sound great at the Great American Music Hall. The show is the biggest local date yet for the new band, which evolved out of Nate Mercereau’s beloved A Million Billion Dying Suns.\u003c/p>\n\u003cp>On the local front, Oakland “hard mod” band \u003cstrong>\u003ca href=\"https://www.facebook.com/hardleft77\">Hard Left\u003c/a>\u003c/strong>, which includes Slumberland Records’ Mike Schulman, is releasing its debut LP \u003cem>We Are Hard Left\u003c/em> with a Hemlock Tavern show. If you’re more inclined toward indie pop, be sure to check out \u003cem>Nowhere Now\u003c/em>, the first full-length from Oakland’s \u003cstrong>\u003ca href=\"https://www.facebook.com/waterstridermusic\">Waterstrider\u003c/a>\u003c/strong>. Finally, regardless of your concert budget, there’s a great free show at the Brick & Mortar Music Hall on April 7 with \u003cstrong>\u003ca href=\"http://cultureabuse.bandcamp.com/\">Culture Abuse\u003c/a>\u003c/strong>; we’ve included a track from them in the mix, but Scraper and Never Young are awesome local bands on the bill as well.\u003c/p>\n\u003cp>Enjoy the podcast… and then go see some concerts!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ladylambjams\">Lady Lamb\u003c/a>\u003c/strong> – “Billions of Eyes”\u003cbr>\nJoined by Rathborne and Sea Knight, Aly Spaltro comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on April 25.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/The-Strange-Land/461954940540901\">The Strange Land\u003c/a>\u003c/strong> – “Specter”\u003cbr>\nOpening for Wand and CCR Headcleaner on April 15 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hardleft77\">Hard Left\u003c/a>\u003c/strong> – “Kicking It Off”\u003cbr>\nReleasing \u003cem>We Are Hard Left\u003c/em> with a show at the Hemlock Tavern on April 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waxahatchee\">Waxahatchee\u003c/a>\u003c/strong> – “Air”\t\u003cbr>\nPerforming alongside Girlpool and Crabapple on April 29 at the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=4&dyear=2015\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/throttleclark\">Clark\u003c/a>\u003c/strong> – “Winter Linn”\u003cbr>\nOn April 23, Clark’s tour with Nosaj Thing comes to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dinnerveryofficial\">Dinner\u003c/a>\u003c/strong> – “Going Out”\u003cbr>\nSupporting Mac DeMarco on April 20 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/brogan-bentley\">Brogan Bentley\u003c/a>\u003c/strong> – “Smoke”\u003cbr>\nPerforming at \u003ca href=\"http://www.pushthefeeling.com/\">Underground SF\u003c/a> on April 4 and \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on April 25.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://cultureabuse.bandcamp.com/\">Culture Abuse\u003c/a>\u003c/strong> – “Take It Out On Yourself”\u003cbr>\nPlaying a free show on April 7 at the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> with fellow locals Scraper and Never Young.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wovepartnership\">Wove\u003c/a>\u003c/strong> – “On and On”\u003cbr>\nCo-headlining the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=4&dyear=2015\">Great American Music Hall\u003c/a> on April 18 with Creepers; Chasms and Emotional also perform.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterstridermusic\">Waterstrider\u003c/a>\u003c/strong> – “White Light”\u003cbr>\nOn April 30, the Oakland band celebrates the release of \u003cem>Nowhere Now\u003c/em> with In the Valley Below and Freedom Fry at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thesoftmoon\">The Soft Moon\u003c/a>\u003c/strong> – “Black”\u003cbr>\nGirl Tears and Skull Katalog support The Soft Moon at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on April 28.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/RideOX4\">Ride\u003c/a>\u003c/strong> – “Leave Them All Behind”\u003cbr>\nThe reunited band performs at \u003ca href=\"http://www.thewarfieldtheatre.com/\">The Warfield\u003c/a> on April 13.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kathryncalder\">Kathryn Calder\u003c/a>\u003c/strong> – “Take A Little Time”\u003cbr>\nComing to the \u003ca href=\"http://www.hotelutah.com/calendar\">Hotel Utah\u003c/a> on April 29 with Ismay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.hisnameisalive.com/\">His Name is Alive\u003c/a>\u003c/strong> – “African Violet Casts A Spell”\u003cbr>\nOn April 7, the band’s 25th anniversary tour comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>; Future Twin and Golden Drugs open the show.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "searching-for-switchboards-salesmen-sounds-of-nature-and-more",
"title": "Searching for Switchboards, Salesmen, Sounds of Nature and More",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including the Switchboard Music Festival, ‘Death of a Salesman,’ Alonzo King LINES Ballet, His Name Is Alive and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/04/20150403tdl.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/BlackSpirituals-400x221.jpg\" alt=\"Black Spirituals\" width=\"400\" height=\"221\" class=\"alignright size-thumbnail wp-image-10527455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-320x176.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-672x372.jpg 672w\" sizes=\"(max-width: 400px) 100vw, 400px\">Switchboard Music Festival\u003c/h3>\n\u003cp>Every spring, the Switchboard Festival highlights the kind of music they describe as “fall[ing] in the cracks between genres” — the dreamy modern jazz, droning improvised electronic music, or the clarinet-and-sax duo that samples the sound of Yosemite’s waterfalls who would normally be too weird for the standard niche festival. The Real Vocal String Quartet (pictured at top) do a mean Regina Spektor cover, Oakland duo Black Spirituals (pictured here) create atmospheric soundscapes, and capping the festival is an extended reimagining of Terry Riley’s groundbreaking composition \u003cem>In C\u003c/em>. A ticket buys entry for all of the festival’s nonstop eight hours of music, and thanks to a unique setup, audience members can come and go freely throughout the day without disrupting the musicians. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/switchboard-music-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DeathofSalesman-400x225.jpg\" alt=\"DeathofSalesman\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10527575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Death of a Salesman’\u003c/h3>\n\u003cp>Arthur Miller was born 100 years ago this year, and so theater companies all around the country are presenting his plays. His best-known work, \u003cem>Death of a Salesman\u003c/em>, remains the definitive statement on the American Dream. In San Jose Stage’s production directed by Kenneth Kelleher, San Jose Stage Artistic Director Randall King plays Willy Loman, the tired, broken father who urges his son to choose a better future. Willy is the ultimate tragic hero, sad and self-delusional; in Kelleher’s words, \u003cem>Salesman\u003c/em> “melds the past and the present into a tale that examines time and the American meaning of life.” The play runs though April 26. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/death-of-a-salesman/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Magma-400x225.jpg\" alt=\"Magma\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10527696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Magma\u003c/h3>\n\u003cp>In a Venn diagram of “weirdest,” “longest-running” and “band from France,” Magma sits completely at the center. The group, defined largely as prog-rock but also encompassing elements of jazz, classical, choral madrigals, experimental noise and more, plays a rare show in the U.S. at Slim’s. Founding drummer and main composer Christian Vander has a knack for the unexpected, be it uncommon time signatures or wild cross-pollinations of styles, garnering the band a strong cult following around the globe. From the band’s first album — a concept record of humans who flee Earth and take up residency on the planet Kobaïa, Magma has performed in an invented language, Kobaïan, much like the Icelandic band Sigur Ros would do decades later. Prog fans won’t want to miss this rare stateside performance. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/magma/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/KaraWilkes1-400x225.jpg\" alt=\"Kara Wilkes\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10417105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/KaraWilkes1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/KaraWilkes1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/KaraWilkes1-1180x664.jpg 1180w\" sizes=\"(max-width: 400px) 100vw, 400px\">Alonzo King LINES Ballet\u003c/h3>\n\u003cp>How many reasons do you need to see Alonzo King’s LINES Ballet? This season, the company’s 32nd, brings another bold collaboration, this time with natural soundscape artist Bernie Krause, whose recordings of animal ecosystems will be shaped by composer Richard Blackford. Add to that the return of King’s “Concerto for Two Violins,” with the Bach performed live by the Philharmonia Baroque Chamber Players. But the two top reasons to see LINES are King’s visionary movement style–sleek, virtuosic, and alive to burning moments of vulnerability–and the heart-laid-bare dancers, led by stately Kara Wilkes (pictured). \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alonzo-kings-lines-ballet/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-400x225.jpg\" alt=\"HisNameIsAlive\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10527706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">His Name Is Alive\u003c/h3>\n\u003cp>“Livonia” sounds like the name of an ancient Scandinavian village full of centuries-old wooden churches and haunted stone buildings, but no: it’s the Michigan hometown of Warren Defever, founder of the long-running musical outfit His Name is Alive. But the imagery is nonetheless on point. Defever occupies a medieval headspace in his music, and over the years has employed a rotating cast of female singers to explore his gothic outlook. Through it all, he’s remained rooted in Wisconsin, even titling His Name Is Alive’s debut album \u003cem>Livonia\u003c/em>, released on the UK label 4AD in 1990. (The fact that it started as a demo tape called \u003cem>I Had Sex With God\u003c/em> should give audiences a hint of the irreverence to expect at this intimate, small-club show.) \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/his-name-is-alive/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including the Switchboard Music Festival, ‘Death of a Salesman,’ Alonzo King LINES Ballet, His Name Is Alive and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/04/20150403tdl.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/BlackSpirituals-400x221.jpg\" alt=\"Black Spirituals\" width=\"400\" height=\"221\" class=\"alignright size-thumbnail wp-image-10527455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-320x176.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/BlackSpirituals-672x372.jpg 672w\" sizes=\"(max-width: 400px) 100vw, 400px\">Switchboard Music Festival\u003c/h3>\n\u003cp>Every spring, the Switchboard Festival highlights the kind of music they describe as “fall[ing] in the cracks between genres” — the dreamy modern jazz, droning improvised electronic music, or the clarinet-and-sax duo that samples the sound of Yosemite’s waterfalls who would normally be too weird for the standard niche festival. The Real Vocal String Quartet (pictured at top) do a mean Regina Spektor cover, Oakland duo Black Spirituals (pictured here) create atmospheric soundscapes, and capping the festival is an extended reimagining of Terry Riley’s groundbreaking composition \u003cem>In C\u003c/em>. A ticket buys entry for all of the festival’s nonstop eight hours of music, and thanks to a unique setup, audience members can come and go freely throughout the day without disrupting the musicians. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/switchboard-music-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DeathofSalesman-400x225.jpg\" alt=\"DeathofSalesman\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10527575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DeathofSalesman-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Death of a Salesman’\u003c/h3>\n\u003cp>Arthur Miller was born 100 years ago this year, and so theater companies all around the country are presenting his plays. His best-known work, \u003cem>Death of a Salesman\u003c/em>, remains the definitive statement on the American Dream. In San Jose Stage’s production directed by Kenneth Kelleher, San Jose Stage Artistic Director Randall King plays Willy Loman, the tired, broken father who urges his son to choose a better future. Willy is the ultimate tragic hero, sad and self-delusional; in Kelleher’s words, \u003cem>Salesman\u003c/em> “melds the past and the present into a tale that examines time and the American meaning of life.” The play runs though April 26. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/death-of-a-salesman/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Magma-400x225.jpg\" alt=\"Magma\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10527696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Magma-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Magma\u003c/h3>\n\u003cp>In a Venn diagram of “weirdest,” “longest-running” and “band from France,” Magma sits completely at the center. The group, defined largely as prog-rock but also encompassing elements of jazz, classical, choral madrigals, experimental noise and more, plays a rare show in the U.S. at Slim’s. Founding drummer and main composer Christian Vander has a knack for the unexpected, be it uncommon time signatures or wild cross-pollinations of styles, garnering the band a strong cult following around the globe. From the band’s first album — a concept record of humans who flee Earth and take up residency on the planet Kobaïa, Magma has performed in an invented language, Kobaïan, much like the Icelandic band Sigur Ros would do decades later. Prog fans won’t want to miss this rare stateside performance. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/magma/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/KaraWilkes1-400x225.jpg\" alt=\"Kara Wilkes\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10417105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/KaraWilkes1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/KaraWilkes1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/KaraWilkes1-1180x664.jpg 1180w\" sizes=\"(max-width: 400px) 100vw, 400px\">Alonzo King LINES Ballet\u003c/h3>\n\u003cp>How many reasons do you need to see Alonzo King’s LINES Ballet? This season, the company’s 32nd, brings another bold collaboration, this time with natural soundscape artist Bernie Krause, whose recordings of animal ecosystems will be shaped by composer Richard Blackford. Add to that the return of King’s “Concerto for Two Violins,” with the Bach performed live by the Philharmonia Baroque Chamber Players. But the two top reasons to see LINES are King’s visionary movement style–sleek, virtuosic, and alive to burning moments of vulnerability–and the heart-laid-bare dancers, led by stately Kara Wilkes (pictured). \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alonzo-kings-lines-ballet/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-400x225.jpg\" alt=\"HisNameIsAlive\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10527706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HisNameIsAlive-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">His Name Is Alive\u003c/h3>\n\u003cp>“Livonia” sounds like the name of an ancient Scandinavian village full of centuries-old wooden churches and haunted stone buildings, but no: it’s the Michigan hometown of Warren Defever, founder of the long-running musical outfit His Name is Alive. But the imagery is nonetheless on point. Defever occupies a medieval headspace in his music, and over the years has employed a rotating cast of female singers to explore his gothic outlook. Through it all, he’s remained rooted in Wisconsin, even titling His Name Is Alive’s debut album \u003cem>Livonia\u003c/em>, released on the UK label 4AD in 1990. (The fact that it started as a demo tape called \u003cem>I Had Sex With God\u003c/em> should give audiences a hint of the irreverence to expect at this intimate, small-club show.) \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/his-name-is-alive/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/create-again-honoring-the-memory-of-andy-lopez/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Create Again’\u003c/h2>\n\u003cdiv class=\"event-desc\">Benefit concert honoring memory of Andy Lopez.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Arlene Francis Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/create-again-honoring-the-memory-of-andy-lopez/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The October 2013 shooting death of 13-year old Andy Lopez by Sonoma County sheriff deputy Erick Gelhaus left the community of Roseland, a largely Latino area in unincorporated Santa Rosa, in a state of ongoing shock.\u003c/p>\n\u003cp>And as details emerged about the shooting — including the news that \u003ca href=\"http://www.bohemian.com/northbay/gun-crazy/Content?oid=2502580&showFullText=true\" target=\"_blank\" rel=\"noopener\">only ten seconds elapsed\u003c/a> between the deputy calling in a suspicious person and radioing again after shooting the boy seven times from behind — \u003ca href=\"https://www.facebook.com/AndysYouthTeam?fref=ts\">students organized\u003c/a> and led ongoing walkouts that were met with overpowering police presence, complete with helicopters overhead and police cars lining the entrance of \u003ca href=\"http://www.srcs.k12.ca.us/Schools/Pages/Lawrence-Cook.aspx\">Lawrence Cook Middle School\u003c/a>, where Andy had been an eighth-grade student.\u003c/p>\n\u003cp>Though news about the incident was covered from the \u003ca href=\"http://www.nytimes.com/2013/10/24/us/boy-13-carrying-toy-guns-is-shot-dead-by-deputies.html?_r=0\">\u003cem>New York Times\u003c/em>\u003c/a> to the \u003ca href=\"http://www.bbc.com/news/world-us-canada-24648974\">BBC\u003c/a>, few media outlets focused on Lopez’s peers and classmates at Cook Middle School. The school, which sits at the western reach of Roseland, serves a district where the majority of kids qualify for free school meals, and many are English language learners. And it has an extremely limited budget for enrichment programs like music, art or athletics.\u003c/p>\n\u003cfigure id=\"attachment_10506876\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Andy-lopez-1180x664.jpg\" alt=\"Andy Lopez attended Lawrence Cook Middle School before he was shot and killed by local law enforcement in 2013.\" width=\"640\" height=\"360\" class=\"size-large wp-image-10506876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Andy Lopez attended Lawrence Cook Middle School before he was shot and killed by local law enforcement in 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>“It was rough going at first, especially with all of the walk-outs and protests. Last year was just kind of tough all along; the feelings, the raw nerves anytime something came up,” says Lawrence Cook Middle School’s performing arts teacher, Mark Mayer. “\u003ca href=\"http://www.restorativeresources.org/\">Restorative Justice\u003c/a> came in and started working last year and there were some psychologists who came to the school. A lot of the students would meet with them whenever they had an issue, they would just head down to the office and they would be available.”\u003c/p>\n\u003cp>In addition to staging walkouts, creating altars and meeting in groups, many of the young teens wore T-shirts and hoodies with Andy’s name and face printed on them. (My daughter, a student at the school, reported students duct-taping Andy’s old locker shut and blocking off access to his desks in order to memorialize him.) Parents pasted their cars with \u003ca href=\"https://www.facebook.com/JusticeforAndyLopez?fref=ts\">Justice for Andy Lopez\u003c/a> stickers. Students lashed out at campus security. The bleak atmosphere on campus continued for weeks, with each day a reminder that Andy was gone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with counseling services and community meetings, students were able to cope through involvement in the school’s music program. Because Andy had played trumpet in the school band, the first step in honoring his memory and processing classmates’ grief was for the band to perform the winter concert as a tribute.\u003c/p>\n\u003cp>Programs for the concert displayed Lopez’s photograph and a written dedication. The band performed several songs he had been working on at the time of his death. His trumpet was placed in an empty seat near the stage. According to Mayer, the students’ involvement in the concert helped them tremendously — even as Cook’s performing arts program faces continuous financial struggles.\u003c/p>\n\u003cp>“When I first got to Cook, we got about $900–$1,000 at the beginning of every year for supplies and such. Now we have nothing,” says Mayer, who has been with the district for twelve years. “The district does do instrument repairs and things like that over the summer. But other than that, we’re on our own.”\u003c/p>\n\u003cp>Mayer says the program relies on fundraising organizations like \u003ca href=\"http://schoolsplus.org/\">Schools Plus\u003c/a> or money from selling candy bars to cover transportation and other expenses.\u003c/p>\n\u003cp>“Good old band candy bars,” he says with a sigh. “That’s how we raise money for the buses to get to the different parades and other things we do.”\u003c/p>\n\u003cfigure id=\"attachment_10523869\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/CookMiddleSchool.jpg\" alt=\"The current band class at Cook Middle School, with band director Mark Mayer at right. (Photo: Darwin Meiners)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10523869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-320x180.jpg 320w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The current band class at Cook Middle School, with band director Mark Mayer at right. (Photo: Darwin Meiners)\u003c/figcaption>\u003c/figure>\n\u003cp>According to John Bribiescas of Schools Plus, a nonprofit foundation that raises funds for performing arts and athletics programs at 11 different schools in Santa Rosa, Roseland has the region’s lowest overall ranking on \u003ca href=\"http://www.pressdemocrat.com/news/stories/2426914-181/close-to-home-addressing-inequities\" target=\"_blank\" rel=\"noopener\">an index that codifies “well being”\u003c/a>. Roseland’s rating is 2.79 out of 10, compared to the city’s Bennett Valley district, on the more affluent east side of town, which is rated at 8.47.\u003c/p>\n\u003cp>“It’s the west side, it’s the disparities that we all know about, like being low-income,” Bribiescas says of the marginalized community with a large immigrant population. “Whereas Maria Carrillo and Montgomery High, a lot of students get private lessons starting at five years old, and they get to middle school and there’s a demand, a need for band classes. Not so on the other side of town.”\u003c/p>\n\u003cp>Some schools on the west side of town, like Comstock Middle School and Piner High School, lost their band classes entirely long ago. But after eight years without a band class, Comstock \u003ca href=\"http://www.pressdemocrat.com/lifestyle/2677404-181/comstock-band-teacher-brings-back?page=0\" target=\"_blank\" rel=\"noopener\">began a new music program last year\u003c/a>, with help from Schools Plus. And when those students enter Piner High School next fall, the school will have a band class for the first time in a decade.\u003c/p>\n\u003cp>Bribiescas says that citywide, about 12,000 students benefit from funding provided by Schools Plus, both in the arts and athletics programs. And at Cook, about 600 kids each year are able participate in music or after school sports. This spring, the school will receive $12,000, split evenly for arts and sports; 100% of those funds will support the kids directly, as none of the funds are allowed to be allocated for teacher salaries.\u003c/p>\n\u003cfigure id=\"attachment_10506879\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Andy-muraledited.jpg\" alt=\"A mural created by artist Mario Uribe of 13-year old Andy Lopez in Santa Rosa. (Photo: Dani Burlison)\" width=\"540\" height=\"574\" class=\"size-full wp-image-10506879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-muraledited.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-muraledited-400x425.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-muraledited-320x340.jpg 320w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">A mural created by artist Mario Uribe of 13-year old Andy Lopez in Santa Rosa. (Photo: Dani Burlison)\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mayer says the program can use any help available, including funds and instruments provided through an April 4 benefit concert in Santa Rosa. \u003ca href=\"https://www.facebook.com/events/880477691971434/\">Create Again: Honoring the Memory of Andy Lopez\u003c/a>, planned by Santa Rosa musician Darwin Meiners, has already acquired a new trumpet and clarinet for Mayer’s band program. All proceeds from the concert — and from \u003ca href=\"https://www.indiegogo.com/projects/create-again-honoring-the-memory-of-andy-lopez\" target=\"_blank\" rel=\"noopener\">autographed auction items\u003c/a> donated by members of Operation Ivy, Built to Spill, Guided by Voices, the Violent Femmes and other well-known bands — will go directly to the school.\u003c/p>\n\u003cp>Mayer says even though most instruments the school loans to its students are old and worn, it’s important to provide a music program for kids who may otherwise display behavioral issues.\u003c/p>\n\u003cp>“For the most part, it’s an elective and they want to be there. They want to learn how to play an instrument, or they’re in performing arts and want to perform, sing, dance,” he says. “I hear [about] the behavior problems, but I don’t see it the way the other teachers do.”\u003c/p>\n\u003cp>Now, nearly 18 months after Lopez’s death, Mayer says the school atmosphere is much better, though many of his students still miss Lopez and are continuing to cope. Groups of kids around Roseland still wear Andy’s name and photograph on their shirts. Several families are working to turn the site of his death into a community park. A public mural of Andy has been created by local artist Mario Uribe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And even as there are no easy solutions or quick fixes to a devastating loss of a child, the Roseland community and its allies continue to ensure that both Andy’s memory — and the Lawrence Cook Middle School band program — remain strong.\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/create-again-honoring-the-memory-of-andy-lopez/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Create Again’\u003c/h2>\n\u003cdiv class=\"event-desc\">Benefit concert honoring memory of Andy Lopez.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Arlene Francis Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/create-again-honoring-the-memory-of-andy-lopez/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The October 2013 shooting death of 13-year old Andy Lopez by Sonoma County sheriff deputy Erick Gelhaus left the community of Roseland, a largely Latino area in unincorporated Santa Rosa, in a state of ongoing shock.\u003c/p>\n\u003cp>And as details emerged about the shooting — including the news that \u003ca href=\"http://www.bohemian.com/northbay/gun-crazy/Content?oid=2502580&showFullText=true\" target=\"_blank\" rel=\"noopener\">only ten seconds elapsed\u003c/a> between the deputy calling in a suspicious person and radioing again after shooting the boy seven times from behind — \u003ca href=\"https://www.facebook.com/AndysYouthTeam?fref=ts\">students organized\u003c/a> and led ongoing walkouts that were met with overpowering police presence, complete with helicopters overhead and police cars lining the entrance of \u003ca href=\"http://www.srcs.k12.ca.us/Schools/Pages/Lawrence-Cook.aspx\">Lawrence Cook Middle School\u003c/a>, where Andy had been an eighth-grade student.\u003c/p>\n\u003cp>Though news about the incident was covered from the \u003ca href=\"http://www.nytimes.com/2013/10/24/us/boy-13-carrying-toy-guns-is-shot-dead-by-deputies.html?_r=0\">\u003cem>New York Times\u003c/em>\u003c/a> to the \u003ca href=\"http://www.bbc.com/news/world-us-canada-24648974\">BBC\u003c/a>, few media outlets focused on Lopez’s peers and classmates at Cook Middle School. The school, which sits at the western reach of Roseland, serves a district where the majority of kids qualify for free school meals, and many are English language learners. And it has an extremely limited budget for enrichment programs like music, art or athletics.\u003c/p>\n\u003cfigure id=\"attachment_10506876\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Andy-lopez-1180x664.jpg\" alt=\"Andy Lopez attended Lawrence Cook Middle School before he was shot and killed by local law enforcement in 2013.\" width=\"640\" height=\"360\" class=\"size-large wp-image-10506876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-lopez.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Andy Lopez attended Lawrence Cook Middle School before he was shot and killed by local law enforcement in 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>“It was rough going at first, especially with all of the walk-outs and protests. Last year was just kind of tough all along; the feelings, the raw nerves anytime something came up,” says Lawrence Cook Middle School’s performing arts teacher, Mark Mayer. “\u003ca href=\"http://www.restorativeresources.org/\">Restorative Justice\u003c/a> came in and started working last year and there were some psychologists who came to the school. A lot of the students would meet with them whenever they had an issue, they would just head down to the office and they would be available.”\u003c/p>\n\u003cp>In addition to staging walkouts, creating altars and meeting in groups, many of the young teens wore T-shirts and hoodies with Andy’s name and face printed on them. (My daughter, a student at the school, reported students duct-taping Andy’s old locker shut and blocking off access to his desks in order to memorialize him.) Parents pasted their cars with \u003ca href=\"https://www.facebook.com/JusticeforAndyLopez?fref=ts\">Justice for Andy Lopez\u003c/a> stickers. Students lashed out at campus security. The bleak atmosphere on campus continued for weeks, with each day a reminder that Andy was gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with counseling services and community meetings, students were able to cope through involvement in the school’s music program. Because Andy had played trumpet in the school band, the first step in honoring his memory and processing classmates’ grief was for the band to perform the winter concert as a tribute.\u003c/p>\n\u003cp>Programs for the concert displayed Lopez’s photograph and a written dedication. The band performed several songs he had been working on at the time of his death. His trumpet was placed in an empty seat near the stage. According to Mayer, the students’ involvement in the concert helped them tremendously — even as Cook’s performing arts program faces continuous financial struggles.\u003c/p>\n\u003cp>“When I first got to Cook, we got about $900–$1,000 at the beginning of every year for supplies and such. Now we have nothing,” says Mayer, who has been with the district for twelve years. “The district does do instrument repairs and things like that over the summer. But other than that, we’re on our own.”\u003c/p>\n\u003cp>Mayer says the program relies on fundraising organizations like \u003ca href=\"http://schoolsplus.org/\">Schools Plus\u003c/a> or money from selling candy bars to cover transportation and other expenses.\u003c/p>\n\u003cp>“Good old band candy bars,” he says with a sigh. “That’s how we raise money for the buses to get to the different parades and other things we do.”\u003c/p>\n\u003cfigure id=\"attachment_10523869\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/CookMiddleSchool.jpg\" alt=\"The current band class at Cook Middle School, with band director Mark Mayer at right. (Photo: Darwin Meiners)\" width=\"1100\" height=\"619\" class=\"size-full wp-image-10523869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/CookMiddleSchool-320x180.jpg 320w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The current band class at Cook Middle School, with band director Mark Mayer at right. (Photo: Darwin Meiners)\u003c/figcaption>\u003c/figure>\n\u003cp>According to John Bribiescas of Schools Plus, a nonprofit foundation that raises funds for performing arts and athletics programs at 11 different schools in Santa Rosa, Roseland has the region’s lowest overall ranking on \u003ca href=\"http://www.pressdemocrat.com/news/stories/2426914-181/close-to-home-addressing-inequities\" target=\"_blank\" rel=\"noopener\">an index that codifies “well being”\u003c/a>. Roseland’s rating is 2.79 out of 10, compared to the city’s Bennett Valley district, on the more affluent east side of town, which is rated at 8.47.\u003c/p>\n\u003cp>“It’s the west side, it’s the disparities that we all know about, like being low-income,” Bribiescas says of the marginalized community with a large immigrant population. “Whereas Maria Carrillo and Montgomery High, a lot of students get private lessons starting at five years old, and they get to middle school and there’s a demand, a need for band classes. Not so on the other side of town.”\u003c/p>\n\u003cp>Some schools on the west side of town, like Comstock Middle School and Piner High School, lost their band classes entirely long ago. But after eight years without a band class, Comstock \u003ca href=\"http://www.pressdemocrat.com/lifestyle/2677404-181/comstock-band-teacher-brings-back?page=0\" target=\"_blank\" rel=\"noopener\">began a new music program last year\u003c/a>, with help from Schools Plus. And when those students enter Piner High School next fall, the school will have a band class for the first time in a decade.\u003c/p>\n\u003cp>Bribiescas says that citywide, about 12,000 students benefit from funding provided by Schools Plus, both in the arts and athletics programs. And at Cook, about 600 kids each year are able participate in music or after school sports. This spring, the school will receive $12,000, split evenly for arts and sports; 100% of those funds will support the kids directly, as none of the funds are allowed to be allocated for teacher salaries.\u003c/p>\n\u003cfigure id=\"attachment_10506879\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Andy-muraledited.jpg\" alt=\"A mural created by artist Mario Uribe of 13-year old Andy Lopez in Santa Rosa. (Photo: Dani Burlison)\" width=\"540\" height=\"574\" class=\"size-full wp-image-10506879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-muraledited.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-muraledited-400x425.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Andy-muraledited-320x340.jpg 320w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">A mural created by artist Mario Uribe of 13-year old Andy Lopez in Santa Rosa. (Photo: Dani Burlison)\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mayer says the program can use any help available, including funds and instruments provided through an April 4 benefit concert in Santa Rosa. \u003ca href=\"https://www.facebook.com/events/880477691971434/\">Create Again: Honoring the Memory of Andy Lopez\u003c/a>, planned by Santa Rosa musician Darwin Meiners, has already acquired a new trumpet and clarinet for Mayer’s band program. All proceeds from the concert — and from \u003ca href=\"https://www.indiegogo.com/projects/create-again-honoring-the-memory-of-andy-lopez\" target=\"_blank\" rel=\"noopener\">autographed auction items\u003c/a> donated by members of Operation Ivy, Built to Spill, Guided by Voices, the Violent Femmes and other well-known bands — will go directly to the school.\u003c/p>\n\u003cp>Mayer says even though most instruments the school loans to its students are old and worn, it’s important to provide a music program for kids who may otherwise display behavioral issues.\u003c/p>\n\u003cp>“For the most part, it’s an elective and they want to be there. They want to learn how to play an instrument, or they’re in performing arts and want to perform, sing, dance,” he says. “I hear [about] the behavior problems, but I don’t see it the way the other teachers do.”\u003c/p>\n\u003cp>Now, nearly 18 months after Lopez’s death, Mayer says the school atmosphere is much better, though many of his students still miss Lopez and are continuing to cope. Groups of kids around Roseland still wear Andy’s name and photograph on their shirts. Several families are working to turn the site of his death into a community park. A public mural of Andy has been created by local artist Mario Uribe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even as there are no easy solutions or quick fixes to a devastating loss of a child, the Roseland community and its allies continue to ensure that both Andy’s memory — and the Lawrence Cook Middle School band program — remain strong.\u003c/p>\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/the-demo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Demo’\u003c/h2>\n\u003cdiv class=\"event-desc\">Re-imagining of prescient internet lecture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been called the “\u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">mother of all demos\u003c/a>.”\u003c/p>\n\u003cp>In the fall of 1968, computer scientist\u003ca href=\"http://en.wikipedia.org/wiki/Douglas_Engelbart\" target=\"_blank\" rel=\"noopener\"> Douglas Englebart\u003c/a> demonstrated the first \u003ca href=\"http://www.computerhistory.org/revolution/input-output/14/350\" target=\"_blank\" rel=\"noopener\">computer mouse\u003c/a>, the first video conferencing, the first use of \u003ca href=\"http://www.computerhistory.org/revolution/the-web/20/373\" target=\"_blank\" rel=\"noopener\">hypertext\u003c/a> and other advanced features before a conference of computer scientists gathered in San Francisco.\u003c/p>\n\u003cp>Now Englebart’s way-before-Powerpoint-presentation is the subject of a multimedia musical, \u003cem>The Demo\u003c/em>, getting a world premiere at \u003ca href=\"https://live.stanford.edu/calendar/april-2015/demo\" target=\"_blank\" rel=\"noopener\">Stanford’s Bing Concert Hall\u003c/a> Wednesday and Thursday.\u003c/p>\n\u003cp>Composers \u003ca href=\"http://mikelrouse.com/new/\" target=\"_blank\" rel=\"noopener\">Mikel Rouse\u003c/a> and \u003ca href=\"http://www.benneill.com/\" target=\"_blank\" rel=\"noopener\">Ben Neill\u003c/a> built their piece around video samples from \u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">Englebart’s original presentation\u003c/a>, scoring Englebart’s words for keyboards, electronic samples, a special trumpet, chorus and video screen.\u003c/p>\n\u003cp>The chorus (made up of local singers) comes in to echo Englebart’s own voice as he shows, via video of the 1968 presentation, an early form of word processing.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It changed the world in the way computers were used,’\u003ccite>Bill English,\u003cbr>\nDouglas Englebart’s Chief Engineer\u003c/cite>\u003c/aside>\n\u003cp>“And so he just starts typing the word ‘word,’” Rouse said. “‘Word, word, word, word, word.’ So that the singers, as they come in, sing ‘Word, word, word, word.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his description, Rouse’s voice goes up the scale to give a sense of how musical the word “word” can be.\u003c/p>\n\u003cp>That’s right, a song about the invention of word processing.\u003c/p>\n\u003cp>The subject isn’t much of a stretch for Rouse and Neill, who’ve known each other for 25 years. Both do avant-garde music and performance pieces, sometimes associated with the Downtown scene in New York City.\u003c/p>\n\u003cp>Rouse plays Englebart in the show, as well as keyboards and computer samples. Neill plays his “mutantrumpet,” a device of his own invention with two bells and a trumpet slide.\u003c/p>\n\u003cfigure id=\"attachment_10521398\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521398\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg\" alt=\"Bill English, Engelbart's lead engineer, testing the first mouse.\" width=\"400\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-320x251.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill English, Engelbart’s lead engineer, testing the first mouse. \u003ccite>(Courtesy of Stanford/SRI International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to understand why \u003cem>The Demo\u003c/em> matters, it helps to know more about Englebart’s work. The computer science pioneer died in 2013.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Bill_English_%28computer_engineer%29\" target=\"_blank\" rel=\"noopener\">Bill English\u003c/a> worked as Englebart’s chief engineer.\u003c/p>\n\u003cp>“It changed the world in the way computers were used,” English said recently, sitting with his wife Roberta, Englebart’s former secretary, at the Sausalito Yacht Club.\u003c/p>\n\u003cp>“He was thinking of how computers really might — on a more intimate scale — support people in what they wanted to do,” English said.\u003c/p>\n\u003cp>They all worked at SRI, the Stanford Research Institute in Menlo Park, as part of a group Englebart founded called the Augmentation Research Center. Its goal: developing ways to help people collaborate via computer, so as to raise human intelligence.\u003c/p>\n\u003cp>That didn’t work out as well as Englebart hoped. But at SRI, Englebart invented and patented the first computer mouse, and English built it.\u003c/p>\n\u003cp>“The first one was a box,” English said, “with a wire that comes out the back, and we said ‘It looks like a mouse. Look, it’s got a tail.’ And that was it.”\u003c/p>\n\u003cp>It’s hard to remember now how radical Englebart’s ideas were at the time. It wasn’t until 1984, 16 years later, that Apple’s first Macintosh tapped the mouse for widespread use.\u003c/p>\n\u003cp>But in 1968, Englebart got the chance to demonstrate his ideas to a wider audience when he was asked to present a paper on his work at the Fall Joint Computer Conference held in Brooks Hall in San Francisco.\u003c/p>\n\u003cp>“And I remember talking with Doug about this,” English recalled. “I said, ‘We ought to show it.’”\u003c/p>\n\u003cp>Exactly how to do that was the question, when Englebart had to be at one of the custom-built workstations in Menlo Park hooked up to one the team’s huge Control Data Corporation mainframes.\u003c/p>\n\u003cfigure id=\"attachment_10521399\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg\" alt=\"Mikel Rouse as Douglas Engelbart in 'The Demo.'\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-320x479.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg 1402w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikel Rouse as Douglas Engelbart in ‘The Demo.’ \u003ccite>(Courtesy of Stanford/Valerie Oliveiro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so English, working with Pacific Bell, figured out how to beam live video coverage of the demo to the conference via microwave trucks parked up on Skyline Boulevard, on the Peninsula.\u003c/p>\n\u003cp>“There was clearly no rehearsal,” English said. “We just did it.”\u003c/p>\n\u003cp>During the 90-minute demonstration, Englebart essentially modeled the way we use computers today. He showed how, with the right interface, a computer could be a personal tool for creating something as mundane as a shopping list, linked to a map. That was a revolution of user friendliness at the time. It’s that human touch that Mikel Rouse and Ben Neill are hoping to honor.\u003c/p>\n\u003cp>“So many things could go wrong with the video or whatever,” Rouse said of the 1968 presentation, “and even when little things do go wrong, he is completely nonplussed. He’s like a Buddha up there.”\u003c/p>\n\u003cp>Englebart had also hoped that the techniques he pioneered for computer collaboration would help end war and disease. That hasn’t happened — not yet, at least — but with \u003cem>The Demo\u003c/em>, Rouse wants the audience to think about the unexpected consequences of Englebart’s work.\u003c/p>\n\u003cp>“How do you feel about the NSA spying on you?” Rouse said. “How do you feel about Facebook? How do you feel about Englebart’s idea that we bring more people together, [while] in fact, for a lot of people this technology has left them even lonelier?”\u003c/p>\n\u003cp>When Englebart did his demo, he was “dealing lightning with both hands,” according to one young computer designer in the crowd. He did it with a keypad in one hand, a mouse in the other.\u003c/p>\n\u003cp>Mikel Rouse and Ben Neill can only hope their musical’s premiere is as well-received as Englebart’s original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were very quiet, of course, during it,” English said, running the video mixer for the 1968 demo. “When he had finished and thanked them and shut down the screen, we were astounded. Everyone in the audience stood up and applauded. That was just amazing to all of us. And we figured, we really did something, didn’t we?”\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/the-demo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Demo’\u003c/h2>\n\u003cdiv class=\"event-desc\">Re-imagining of prescient internet lecture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been called the “\u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">mother of all demos\u003c/a>.”\u003c/p>\n\u003cp>In the fall of 1968, computer scientist\u003ca href=\"http://en.wikipedia.org/wiki/Douglas_Engelbart\" target=\"_blank\" rel=\"noopener\"> Douglas Englebart\u003c/a> demonstrated the first \u003ca href=\"http://www.computerhistory.org/revolution/input-output/14/350\" target=\"_blank\" rel=\"noopener\">computer mouse\u003c/a>, the first video conferencing, the first use of \u003ca href=\"http://www.computerhistory.org/revolution/the-web/20/373\" target=\"_blank\" rel=\"noopener\">hypertext\u003c/a> and other advanced features before a conference of computer scientists gathered in San Francisco.\u003c/p>\n\u003cp>Now Englebart’s way-before-Powerpoint-presentation is the subject of a multimedia musical, \u003cem>The Demo\u003c/em>, getting a world premiere at \u003ca href=\"https://live.stanford.edu/calendar/april-2015/demo\" target=\"_blank\" rel=\"noopener\">Stanford’s Bing Concert Hall\u003c/a> Wednesday and Thursday.\u003c/p>\n\u003cp>Composers \u003ca href=\"http://mikelrouse.com/new/\" target=\"_blank\" rel=\"noopener\">Mikel Rouse\u003c/a> and \u003ca href=\"http://www.benneill.com/\" target=\"_blank\" rel=\"noopener\">Ben Neill\u003c/a> built their piece around video samples from \u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">Englebart’s original presentation\u003c/a>, scoring Englebart’s words for keyboards, electronic samples, a special trumpet, chorus and video screen.\u003c/p>\n\u003cp>The chorus (made up of local singers) comes in to echo Englebart’s own voice as he shows, via video of the 1968 presentation, an early form of word processing.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It changed the world in the way computers were used,’\u003ccite>Bill English,\u003cbr>\nDouglas Englebart’s Chief Engineer\u003c/cite>\u003c/aside>\n\u003cp>“And so he just starts typing the word ‘word,’” Rouse said. “‘Word, word, word, word, word.’ So that the singers, as they come in, sing ‘Word, word, word, word.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his description, Rouse’s voice goes up the scale to give a sense of how musical the word “word” can be.\u003c/p>\n\u003cp>That’s right, a song about the invention of word processing.\u003c/p>\n\u003cp>The subject isn’t much of a stretch for Rouse and Neill, who’ve known each other for 25 years. Both do avant-garde music and performance pieces, sometimes associated with the Downtown scene in New York City.\u003c/p>\n\u003cp>Rouse plays Englebart in the show, as well as keyboards and computer samples. Neill plays his “mutantrumpet,” a device of his own invention with two bells and a trumpet slide.\u003c/p>\n\u003cfigure id=\"attachment_10521398\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521398\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg\" alt=\"Bill English, Engelbart's lead engineer, testing the first mouse.\" width=\"400\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-320x251.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill English, Engelbart’s lead engineer, testing the first mouse. \u003ccite>(Courtesy of Stanford/SRI International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to understand why \u003cem>The Demo\u003c/em> matters, it helps to know more about Englebart’s work. The computer science pioneer died in 2013.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Bill_English_%28computer_engineer%29\" target=\"_blank\" rel=\"noopener\">Bill English\u003c/a> worked as Englebart’s chief engineer.\u003c/p>\n\u003cp>“It changed the world in the way computers were used,” English said recently, sitting with his wife Roberta, Englebart’s former secretary, at the Sausalito Yacht Club.\u003c/p>\n\u003cp>“He was thinking of how computers really might — on a more intimate scale — support people in what they wanted to do,” English said.\u003c/p>\n\u003cp>They all worked at SRI, the Stanford Research Institute in Menlo Park, as part of a group Englebart founded called the Augmentation Research Center. Its goal: developing ways to help people collaborate via computer, so as to raise human intelligence.\u003c/p>\n\u003cp>That didn’t work out as well as Englebart hoped. But at SRI, Englebart invented and patented the first computer mouse, and English built it.\u003c/p>\n\u003cp>“The first one was a box,” English said, “with a wire that comes out the back, and we said ‘It looks like a mouse. Look, it’s got a tail.’ And that was it.”\u003c/p>\n\u003cp>It’s hard to remember now how radical Englebart’s ideas were at the time. It wasn’t until 1984, 16 years later, that Apple’s first Macintosh tapped the mouse for widespread use.\u003c/p>\n\u003cp>But in 1968, Englebart got the chance to demonstrate his ideas to a wider audience when he was asked to present a paper on his work at the Fall Joint Computer Conference held in Brooks Hall in San Francisco.\u003c/p>\n\u003cp>“And I remember talking with Doug about this,” English recalled. “I said, ‘We ought to show it.’”\u003c/p>\n\u003cp>Exactly how to do that was the question, when Englebart had to be at one of the custom-built workstations in Menlo Park hooked up to one the team’s huge Control Data Corporation mainframes.\u003c/p>\n\u003cfigure id=\"attachment_10521399\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg\" alt=\"Mikel Rouse as Douglas Engelbart in 'The Demo.'\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-320x479.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg 1402w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikel Rouse as Douglas Engelbart in ‘The Demo.’ \u003ccite>(Courtesy of Stanford/Valerie Oliveiro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so English, working with Pacific Bell, figured out how to beam live video coverage of the demo to the conference via microwave trucks parked up on Skyline Boulevard, on the Peninsula.\u003c/p>\n\u003cp>“There was clearly no rehearsal,” English said. “We just did it.”\u003c/p>\n\u003cp>During the 90-minute demonstration, Englebart essentially modeled the way we use computers today. He showed how, with the right interface, a computer could be a personal tool for creating something as mundane as a shopping list, linked to a map. That was a revolution of user friendliness at the time. It’s that human touch that Mikel Rouse and Ben Neill are hoping to honor.\u003c/p>\n\u003cp>“So many things could go wrong with the video or whatever,” Rouse said of the 1968 presentation, “and even when little things do go wrong, he is completely nonplussed. He’s like a Buddha up there.”\u003c/p>\n\u003cp>Englebart had also hoped that the techniques he pioneered for computer collaboration would help end war and disease. That hasn’t happened — not yet, at least — but with \u003cem>The Demo\u003c/em>, Rouse wants the audience to think about the unexpected consequences of Englebart’s work.\u003c/p>\n\u003cp>“How do you feel about the NSA spying on you?” Rouse said. “How do you feel about Facebook? How do you feel about Englebart’s idea that we bring more people together, [while] in fact, for a lot of people this technology has left them even lonelier?”\u003c/p>\n\u003cp>When Englebart did his demo, he was “dealing lightning with both hands,” according to one young computer designer in the crowd. He did it with a keypad in one hand, a mouse in the other.\u003c/p>\n\u003cp>Mikel Rouse and Ben Neill can only hope their musical’s premiere is as well-received as Englebart’s original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were very quiet, of course, during it,” English said, running the video mixer for the 1968 demo. “When he had finished and thanked them and shut down the screen, we were astounded. Everyone in the audience stood up and applauded. That was just amazing to all of us. And we figured, we really did something, didn’t we?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cheap Thrill: From Australia, Twerps Headline Power-Packed Bill",
"headTitle": "Cheap Thrill: From Australia, Twerps Headline Power-Packed Bill | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-punx-two-year-anniversary/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Pizza Punx Two-Year Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">With Twerps, White Fence and more.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>March 31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Refuge Christian Fellowship\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-punx-two-year-anniversary/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Australia’s got more than \u003ca href=\"http://www.ibtimes.com/what-igloo-australia-azealia-banks-slams-iggy-azalea-apparent-silence-ferguson-eric-1734858\" target=\"_blank\" rel=\"noopener\">tour-cancelling Igloos\u003c/a> going on these days — to be precise, the Land Down Under boasts the jangly pop of Melbourne foursome Twerps, whose newest album \u003cem>Range Anxiety\u003c/em> has been garnering attention around the globe for its simple melodies, sunshiny riffs and shared Velvet Underground-like vocals.\u003c/p>\n\u003cp>On a typical run of nightclubs and festivals in the U.S. before heading to Europe in May, Twerps have a curious date on their tour itinerary: a DIY show with five bands at a “Christian Fellowship” church in Santa Rosa.\u003c/p>\n\u003cp>Chalk it up to the passionate, anything-goes booking of Pizza Punx Presents, an underground promotion team that for the last two years has stridently shaken up the oft-quiet atmosphere of wine country. The Twerps show this week celebrates the Pizza Punx’ two-year anniversary, during which time they’ve hosted wild punk and indie shows in living rooms, parks and warehouses in and around Santa Rosa. \u003c/p>\n\u003cfigure id=\"attachment_10518796\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/PizzaFlyer.jpg\" alt=\"A Pizza Punx flyer asking for use of unconventional venues. (Photo: Jake Bayless)\" width=\"480\" height=\"640\" class=\"size-full wp-image-10518796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer-320x427.jpg 320w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">A Pizza Punx flyer asking for use of unconventional venues. (Photo: Jake Bayless)\u003c/figcaption>\u003c/figure>\n\u003cp>Though the city doesn’t lack all-ages venues willing to book loud music, Pizza Punx shows retain an immediacy and spontaneity not found at regular nightclubs or community spaces. And they’re willing to try just about any means to find those unique pockets to make the magic happen: the first I heard of them, they hosted Qui, the noise-rock band once featuring David Yow from Jesus Lizard, inside a home built for the park ranger at the city’s largest recreational park. Recently, they flyered all over town looking for other outlets: “Host an Underground Live Music Event,” the flyer offered, asking to use strangers’ homes, workplaces, or garages for shows.\u003c/p>\n\u003cp>This week’s show is the first time Pizza Punx have partnered with a religious organization, and the dichotomy should be interesting to witness — the last time the downtown space opened its doors to punk rock, well, \u003ca href=\"http://www.bohemian.com/northbay/profile-punk-flourishes-at-santa-rosa-christian-venue/Content?oid=2171625\" target=\"_blank\" rel=\"noopener\">let’s just say it was an awkward relationship\u003c/a>. But whether the Punx and the Christians pair up for more shows after this week is beside the point; Pizza Punx seem to enjoy the fleeting one-off, the here and now, the music in the moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what music there’ll be. Appearing with the band in Santa Rosa is White Fence, the acclaimed outfit founded by psych-rock wizard Tim Presley; Pennsylvania’s Sheer Mag, whose power-pop puts an emphasis on “power”; Los Angeles retro-styled singer Peach Kelli Pop; and last but not least, San Francisco’s own punk icon Tony Molina. Bring $10 to get in, bring a sense of adventure — and bring pizza.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKVrz98vkt4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-punx-two-year-anniversary/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Pizza Punx Two-Year Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">With Twerps, White Fence and more.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>March 31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Refuge Christian Fellowship\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pizza-punx-two-year-anniversary/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Australia’s got more than \u003ca href=\"http://www.ibtimes.com/what-igloo-australia-azealia-banks-slams-iggy-azalea-apparent-silence-ferguson-eric-1734858\" target=\"_blank\" rel=\"noopener\">tour-cancelling Igloos\u003c/a> going on these days — to be precise, the Land Down Under boasts the jangly pop of Melbourne foursome Twerps, whose newest album \u003cem>Range Anxiety\u003c/em> has been garnering attention around the globe for its simple melodies, sunshiny riffs and shared Velvet Underground-like vocals.\u003c/p>\n\u003cp>On a typical run of nightclubs and festivals in the U.S. before heading to Europe in May, Twerps have a curious date on their tour itinerary: a DIY show with five bands at a “Christian Fellowship” church in Santa Rosa.\u003c/p>\n\u003cp>Chalk it up to the passionate, anything-goes booking of Pizza Punx Presents, an underground promotion team that for the last two years has stridently shaken up the oft-quiet atmosphere of wine country. The Twerps show this week celebrates the Pizza Punx’ two-year anniversary, during which time they’ve hosted wild punk and indie shows in living rooms, parks and warehouses in and around Santa Rosa. \u003c/p>\n\u003cfigure id=\"attachment_10518796\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/PizzaFlyer.jpg\" alt=\"A Pizza Punx flyer asking for use of unconventional venues. (Photo: Jake Bayless)\" width=\"480\" height=\"640\" class=\"size-full wp-image-10518796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/PizzaFlyer-320x427.jpg 320w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">A Pizza Punx flyer asking for use of unconventional venues. (Photo: Jake Bayless)\u003c/figcaption>\u003c/figure>\n\u003cp>Though the city doesn’t lack all-ages venues willing to book loud music, Pizza Punx shows retain an immediacy and spontaneity not found at regular nightclubs or community spaces. And they’re willing to try just about any means to find those unique pockets to make the magic happen: the first I heard of them, they hosted Qui, the noise-rock band once featuring David Yow from Jesus Lizard, inside a home built for the park ranger at the city’s largest recreational park. Recently, they flyered all over town looking for other outlets: “Host an Underground Live Music Event,” the flyer offered, asking to use strangers’ homes, workplaces, or garages for shows.\u003c/p>\n\u003cp>This week’s show is the first time Pizza Punx have partnered with a religious organization, and the dichotomy should be interesting to witness — the last time the downtown space opened its doors to punk rock, well, \u003ca href=\"http://www.bohemian.com/northbay/profile-punk-flourishes-at-santa-rosa-christian-venue/Content?oid=2171625\" target=\"_blank\" rel=\"noopener\">let’s just say it was an awkward relationship\u003c/a>. But whether the Punx and the Christians pair up for more shows after this week is beside the point; Pizza Punx seem to enjoy the fleeting one-off, the here and now, the music in the moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Report from Austin: Is South By Southwest Worth It for Artists?",
"headTitle": "Report from Austin: Is South By Southwest Worth It for Artists? | KQED",
"content": "\u003cp>In early March, McDonald’s, a major sponsor of the Austin music festival South by Southwest, raised eyebrows when it was revealed the corporate giant \u003ca href=\"http://www.forbes.com/sites/eriksherman/2015/03/06/mcdonalds-too-cheap-to-pay-for-bands-at-sxsw-event/\" target=\"_blank\" rel=\"noopener\">wouldn’t be paying any of the artists\u003c/a> who performed at their festival showcases. Instead, McDonald’s offered the possibility of social media exposure via its extensively connected outlets (a Twitter account with 2.78 million followers; a Facebook page with over 55 million likes).\u003c/p>\n\u003cp>As one can imagine, that decision didn’t go over well with online critics, and McDonald’s \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6495175/mcdonalds-to-pay-performers-at-sxsw-showcase\" target=\"_blank\" rel=\"noopener\">eventually changed its policy\u003c/a> after coming under scrutiny, stating, “all bands performing at our showcase will be compensated.” (An exact figure was never stated.)\u003c/p>\n\u003cp>But the episode underscores a question increasingly asked in recent years, as South by Southwest takes on billion-dollar corporate sponsors, brings in approximately 28,000 paid attendees and roughly $300 million in revenue for the city of Austin: with so little of that money trickling down to artists, is performing at SXSW even worth it?\u003c/p>\n\u003cp>Despite the immense growth of the festival over its 28 years of existence, readers may be surprised to learn the two payment options offered to official SXSW showcase talent: either a $250 cash payment (the number shrinks to $100 for solo acts or duos), or SXSW Music passes granting access to all official showcases. (This is only the figure for official SXSW artists; there are scores of unofficial showcases that pop up, from bars on Sixth Street to vacant parking lots.) Artists are expected to cover all travel and lodging costs.\u003c/p>\n\u003cp>Just as with the McDonald’s offer, the festival organizers’ selling point for bands are the thousands of industry insiders, journalists and fans who arrive in Austin specifically for the fest. In other words, potential exposure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Exposure” is a carrot dangled all too often to musicians, but according to SXSW, that’s enough to attract approximately 2,200 musicians to perform at the annual festival, descending upon the town to hopefully gain someone’s — anyone’s — attention.\u003c/p>\n\u003ch2>Corporations and Hierarchy\u003c/h2>\n\u003cfigure id=\"attachment_10515549\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis.jpg\" alt=\"Kali Uchis performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"472\" class=\"size-full wp-image-10515549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis-320x236.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>Take a walk down Sixth Street, the hub of South by Southwest music activity, and there’s no denying how active this place becomes. Music of all types escapes from the doors and open windows of the dozens of bars and restaurants that line Sixth. Entrepreneurial musicians unable to secure a showcase slot set up shop on the street, looking to attract passers-by.\u003c/p>\n\u003cp>Oakland R&B vocalist Bobby Brackins, attending his third SXSW in four years, experienced one of these stumble-upon moments his first evening in Austin.\u003c/p>\n\u003cp>“We were at my hotel bar last night, and there was this super dope girl singing in the hotel lobby,” he recalls. “There was only like 10 people in there. You never know when you’re gonna hear some good music or just stumble upon something that you may really end up enjoying.”\u003c/p>\n\u003cp>You also never know when you’re going to stumble into a company’s marketing plan. The afternoon I arrived, I encountered a long line to order from a food truck located at the corner of Fifth and Red River, right in front of the Austin Convention Center, the site of SXSW’s panels and exhibitions. The food was free. All the sponsored company asked in return was for patrons to tweet about them.\u003c/p>\n\u003cp>Twenty steps later, I found a couple of twenty-something reps from McDonald’s giving out free food to young people in exchange for a photo, likely to be used as marketing collateral.\u003c/p>\n\u003cp>It shows how the festival that once billed itself as \u003cem>the\u003c/em> hub for discovering the next best thing in music has opened itself up more and more to corporate sponsorship. In addition to McDonald’s, this year’s main sponsors included Miller Lite, Esurance, AT&T, Monster Energy and Capital One.\u003c/p>\n\u003cp>Major-label artists have invaded the festival as well, often in conjunction with major sponsor showcases, with some sponsors even adding an additional level of incentivized priority access. In 2012, when Nike used their showcases to unveil their activity-tracking \u003ca href=\"http://en.wikipedia.org/wiki/Nike%2B_FuelBand\" target=\"_blank\" rel=\"noopener\">FuelBand\u003c/a>, those who purchased the $150 wristband were given priority over regular SXSW badgeholders to attend co-branded Nike / Vevo shows, which included performances by Nas, Major Lazer, Girl Talk, the Shins, and Neon Trees. That same year, Jay-Z appeared in a special performance made available only to American Express cardholders who also had SXSW badges.\u003c/p>\n\u003cp>While these corporate examples show how some sponsors are adding new barriers to entry, official SXSW showcases follow a three-tiered hierarchy. At the top are badge holders — fest attendees who shelled out anywhere from $650 (music badge) to $1750 (platinum SXSW badge) to attend both the fest’s panels and showcases. Underneath them are wristband holders, who pay $170-$190 for access to all official showcases. This option is limited to Austin residents. Lastly, there’s general admission attendees.\u003c/p>\n\u003cp>The good thing about SXSW is that, most often, there’s the possibility to get in anywhere. However, one encounters the significant downside when choosing one of the evening’s more popular bills. That’s when the politics of the hierarchy come into play — showcases honor badges before wristbands, and wristbands before general admission, regardless of how long someone has been waiting in line. When a venue hits capacity, all bets are off.\u003c/p>\n\u003ch2>“Ruining the Culture”\u003c/h2>\n\u003cfigure id=\"attachment_10515551\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada.jpg\" alt=\"Kaytranda performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"431\" class=\"size-full wp-image-10515551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada-320x216.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranda performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>While it’s a necessary evil, Richmond rapper IamSu! is outspoken in his opposition to the priority hierarchy.\u003c/p>\n\u003cp>“I think it’s damn near ruining the culture,” he says. “It’s devaluing being a fan. That’s so lame, because I love to fan out.”\u003c/p>\n\u003cp>Su’s SXSW experience has changed drastically since he first attended in 2012. In the years since, he’s risen to become a major force in the Bay Area hip-hop scene, and as a result, access isn’t necessarily an issue anymore. But four years ago, calling the trip a struggle would be an understatement.\u003c/p>\n\u003cp>“Me and all my friends, we didn’t have a hotel to stay at the first time. We slept in our car the first night,” he recalls. “I had like maybe $800 to my name between the three of us. I was the only one that had some money to spend, so I got the room.”\u003c/p>\n\u003cp>Su’s friends had flown out to see him perform one song at one showcase, but thanks to the connections he made once he arrived, he was able to hop on stage as a special guest at four other performances. Last year, he lost his voice doing nine shows in three days.\u003c/p>\n\u003cp>This year, IamSu! had a supporting slot inside ACL’s 2,750-capacity Moody Theater at a show headlined by J. Cole and featuring support from Redman, Joey Bada$$ and G-Eazy. This time out, \u003cem>he\u003c/em> was the one able to bring out guests. Ensuring the Bay was in the building, he welcomed Too $hort to the stage to perform his hit “Blow the Whistle.”\u003c/p>\n\u003cp>“I did a lot of corporate shit this year,” Su admits, “but being able to walk around and just see fans, and for them to respond or respect us, that means everything,” he says.\u003c/p>\n\u003ch2>“Spontaneity at its Finest”\u003c/h2>\n\u003cfigure id=\"attachment_10515553\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah.jpg\" alt=\"San Jose singer Sweet Hayah performs on the sidewalk at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"431\" class=\"size-full wp-image-10515553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah-320x216.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Jose singer Sweet Hayah performs on the sidewalk at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>I encountered that pervasive feeling of respect my second night in Austin, when Los Angeles electronic producer Daedelus performed at Empire Control Room. In his red velvet suit jacket, he looked like a musical mad scientist, while triggering sounds from his MIDI with a notable ferocity. In the middle of his set, technical issues abruptly silenced his mixes on three separate occasions. Despite the setbacks, his audience remained encouraging with every stoppage, yelling out that they had no problem waiting to continue watching his set; he genuinely seemed to appreciate every call of support.\u003c/p>\n\u003cp>“Just because the corporate system is getting involved isn’t necessarily a bad thing,” insists Bobby Brackins. “That just means there’s more outlets for artists to be heard.” While some fans may be shut out of showcases, Brackins points out that such cases represent only one show in an artist’s performance schedule — and if fans miss someone, they should be able to see them when they tour their hometown.\u003c/p>\n\u003cp>Asked why he still chooses to return, Brackins cites an undeniable festival spirit.\u003c/p>\n\u003cp>“I just think it’s real,” he says. “It’s getting more corporate and mainstream, but a lot of aspects about it are still real and organic… Yeah, there’s huge artists out here, but people just want to hear good music, so even if you aren’t the biggest artist in the world, you can make new fans.”\u003c/p>\n\u003cp>Brackins mentions how special it is to see artists walking crowded Sixth Street after dark, casually rubbing shoulders with fans. That’s something Ziek McCarter, vocalist for the fast-rising San Francisco funk / soul outfit Con Brio, experienced first hand — a Houston native, he passed H-Town rapper Trae tha Truth and had to take a second look.\u003c/p>\n\u003cp>Of the artists I had a chance to speak with, McCarter was the only SXSW rookie. He and his band arrived in Austin with plenty of buzz; Con Brio had sold out their past two headlining shows in San Francisco at both the Independent and Rickshaw Stop.\u003c/p>\n\u003cp>In Austin, the group had a chance to sit in with Austin artist David Garza in front of a crowd McCarter estimates as “almost a thousand” in the parking lot of the Hotel San Jose on South Congress. In typical SXSW fashion, Con Brio’s appearance was organized the day before; Garza’s horn players wrote up charts for Con Brio that day.\u003c/p>\n\u003cp>“Spontaneity at its finest, and I love that,” McCarter says. “I love that just at the drop of a dime, you’ve got to deliver what you love.”\u003c/p>\n\u003cp>McCarter’s SXSW trip actually represented his musical story coming full circle: he graduated from high school in Cedar Park, near Austin, dreaming of being a performer, and “my dad used to go to Sixth Street all the time and play the blues,” he says. “I always wanted to go with him.”\u003c/p>\n\u003cp>He may not have been sitting in with his father, but McCarter performed like a man on a mission, throwing his body around the stage, doing the splits and holding rapt an audience that included past family and friends from his Texas upbringing.\u003c/p>\n\u003cp>McCarter says the unanimous praise for his band at SXSW helped reinforce the value of patience as an artist.\u003c/p>\n\u003cp>“That’s one of the beauties of life that keeps you believing and having faith in what you do, knowing that it may not be my time right now, but eventually, everything spins around and comes back around full circle,” he says. “It really enriches my faith a whole lot.”\u003c/p>\n\u003ch2>The Exhaustion of it All\u003c/h2>\n\u003cfigure id=\"attachment_10515554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs.jpg\" alt=\"Freddie Gibbs performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"436\" class=\"size-full wp-image-10515554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs-320x218.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Freddie Gibbs performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>Just as McCarter had to do a double-take running into his Houston hero, I took a second look myself on Friday night when I made my way downstairs to Barcelona, a dark, dingy basement club with low ceilings and lots of bass. I’d lined up to catch DJ Sliink, one of the foremost ambassadors of a high-energy, high tempo variant of electronic music known at Jersey club.\u003c/p>\n\u003cp>But once I got a clear view of the DJ booth, I discovered legendary hip-hop producer Just Blaze on the decks. While he was able to sprinkle in some of his well-known hits — “Public Service Announcement” by Jay-Z and “I Really Mean It” by Dipset both get spins — the sonic menu called for mostly Jersey club and trap, anything that made liberal use of the gigantic subwoofers hiding in the space’s dark corners.\u003c/p>\n\u003cp>His appearance was an example of the special surprises often at play at SXSW. With so much talent congregating on the city, special guests tend to pop up frequently.\u003c/p>\n\u003cp>Of course, if you’re a guest who’s not special enough, SXSW can be more trouble than it’s worth.\u003c/p>\n\u003cp>While San Francisco punk band Creative Adult played SXSW in 2013 and 2014, they opted not to return this year. As for why they chose to make the trek in the first place, guitarist Michael Fenton says that “we just knew it was something we were interested in conquering as a band.”\u003c/p>\n\u003cp>Creative Adult’s experience was better the second year because they had more buzz, Fenton says, and though they loved the connections that they made — they met people from their label, old friends, their booking agent — what damaged the experience was the exhaustion of it all.\u003c/p>\n\u003cp>“I’m a creature of comfort,” Fenton says, “and SXSW is the opposite of that.”\u003c/p>\n\u003cp>Fenton has a biting take on SXSW from an artist’s perspective. “They don’t pay artists enough (if they’re lucky enough to get an official showcase),” he says. “It’s a waste of money. You’re not going to get recognized or play good shows if you’re not established. It just looks good on paper.”\u003c/p>\n\u003cp>However, he does note the value the experience provided him as a fan. In that respect, he says, “I think it’s great. I got to see tons of my favorite bands in intimate environments, for free usually.”\u003c/p>\n\u003ch2>New Believers\u003c/h2>\n\u003cp>Five and a half hours after Con Brio’s closing set, I stood in the TSA line at Austin Airport, slowly shuffling through a crowd of tired faces, most of whom looked like artists. \u003ca href=\"http://kxan.com/2015/03/23/after-sxsw-20000-expected-to-leave-austin-airport/\" target=\"_blank\" rel=\"noopener\">As WXAN reported\u003c/a>, I was simply one of 20,000 expected to leave by Monday evening.\u003c/p>\n\u003cp>Despite the denouement at hand, there’s a beauty in this scene. Practically all of these people came to Austin intent on furthering a dream, I thought to myself — one that requires significant financial risk in hopes of connecting with new believers. The sheer numbers speak to the power SXSW still holds among artists and fans alike.\u003c/p>\n\u003cp>As for whether he feels that power is worth it for up-and-coming acts, IamSu! provides an optimistic response, with some forewarning. “I think it’s cool if you come out here with a devised plan,” he says. “If you’re able to get on showcases, yeah. I don’t think you should waste your money if you’re not on any showcases — unless you’re just going to go watch shows and be a fan.”\u003c/p>\n\u003cp>Those thoughts are echoed by Fenton from Creative Adult, who cautions new bands that might be too overeager to play SXSW. “I’d tell them to wait until they were an established band before heading out,” Fenton advises, “unless they’re into debauchery for the hell of it.”\u003c/p>\n\u003cp>And even established acts can face the unpredictable ebb and flow of SXSW crowds. “It’s humbling out here, because you might do a show and it might be 50 people, then you might go do a show and have 700 people there,” shares Brackins. “You gotta humble yourself and be ready to go with whatever.”\u003c/p>\n\u003cp>“Going with whatever” can mean dealing with badge politics, corporate intrusion, traffic jams, low pay, no available hotel rooms and numerous other obstacles at SXSW. But cut through all of that, says McCarter, and it’s truly all about the music.\u003c/p>\n\u003cp>Catching him in the afterglow of another celebrated Con Brio performance, I ask whether the group would consider returning next year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If we’re available and the temperature is just right, we’d love to come back and do it again,” McCarter says. “There’s a lot of static, but at the end of the day, for us, this is just another stage, another opportunity to do what we love.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early March, McDonald’s, a major sponsor of the Austin music festival South by Southwest, raised eyebrows when it was revealed the corporate giant \u003ca href=\"http://www.forbes.com/sites/eriksherman/2015/03/06/mcdonalds-too-cheap-to-pay-for-bands-at-sxsw-event/\" target=\"_blank\" rel=\"noopener\">wouldn’t be paying any of the artists\u003c/a> who performed at their festival showcases. Instead, McDonald’s offered the possibility of social media exposure via its extensively connected outlets (a Twitter account with 2.78 million followers; a Facebook page with over 55 million likes).\u003c/p>\n\u003cp>As one can imagine, that decision didn’t go over well with online critics, and McDonald’s \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6495175/mcdonalds-to-pay-performers-at-sxsw-showcase\" target=\"_blank\" rel=\"noopener\">eventually changed its policy\u003c/a> after coming under scrutiny, stating, “all bands performing at our showcase will be compensated.” (An exact figure was never stated.)\u003c/p>\n\u003cp>But the episode underscores a question increasingly asked in recent years, as South by Southwest takes on billion-dollar corporate sponsors, brings in approximately 28,000 paid attendees and roughly $300 million in revenue for the city of Austin: with so little of that money trickling down to artists, is performing at SXSW even worth it?\u003c/p>\n\u003cp>Despite the immense growth of the festival over its 28 years of existence, readers may be surprised to learn the two payment options offered to official SXSW showcase talent: either a $250 cash payment (the number shrinks to $100 for solo acts or duos), or SXSW Music passes granting access to all official showcases. (This is only the figure for official SXSW artists; there are scores of unofficial showcases that pop up, from bars on Sixth Street to vacant parking lots.) Artists are expected to cover all travel and lodging costs.\u003c/p>\n\u003cp>Just as with the McDonald’s offer, the festival organizers’ selling point for bands are the thousands of industry insiders, journalists and fans who arrive in Austin specifically for the fest. In other words, potential exposure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Exposure” is a carrot dangled all too often to musicians, but according to SXSW, that’s enough to attract approximately 2,200 musicians to perform at the annual festival, descending upon the town to hopefully gain someone’s — anyone’s — attention.\u003c/p>\n\u003ch2>Corporations and Hierarchy\u003c/h2>\n\u003cfigure id=\"attachment_10515549\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis.jpg\" alt=\"Kali Uchis performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"472\" class=\"size-full wp-image-10515549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kali-Uchis-320x236.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>Take a walk down Sixth Street, the hub of South by Southwest music activity, and there’s no denying how active this place becomes. Music of all types escapes from the doors and open windows of the dozens of bars and restaurants that line Sixth. Entrepreneurial musicians unable to secure a showcase slot set up shop on the street, looking to attract passers-by.\u003c/p>\n\u003cp>Oakland R&B vocalist Bobby Brackins, attending his third SXSW in four years, experienced one of these stumble-upon moments his first evening in Austin.\u003c/p>\n\u003cp>“We were at my hotel bar last night, and there was this super dope girl singing in the hotel lobby,” he recalls. “There was only like 10 people in there. You never know when you’re gonna hear some good music or just stumble upon something that you may really end up enjoying.”\u003c/p>\n\u003cp>You also never know when you’re going to stumble into a company’s marketing plan. The afternoon I arrived, I encountered a long line to order from a food truck located at the corner of Fifth and Red River, right in front of the Austin Convention Center, the site of SXSW’s panels and exhibitions. The food was free. All the sponsored company asked in return was for patrons to tweet about them.\u003c/p>\n\u003cp>Twenty steps later, I found a couple of twenty-something reps from McDonald’s giving out free food to young people in exchange for a photo, likely to be used as marketing collateral.\u003c/p>\n\u003cp>It shows how the festival that once billed itself as \u003cem>the\u003c/em> hub for discovering the next best thing in music has opened itself up more and more to corporate sponsorship. In addition to McDonald’s, this year’s main sponsors included Miller Lite, Esurance, AT&T, Monster Energy and Capital One.\u003c/p>\n\u003cp>Major-label artists have invaded the festival as well, often in conjunction with major sponsor showcases, with some sponsors even adding an additional level of incentivized priority access. In 2012, when Nike used their showcases to unveil their activity-tracking \u003ca href=\"http://en.wikipedia.org/wiki/Nike%2B_FuelBand\" target=\"_blank\" rel=\"noopener\">FuelBand\u003c/a>, those who purchased the $150 wristband were given priority over regular SXSW badgeholders to attend co-branded Nike / Vevo shows, which included performances by Nas, Major Lazer, Girl Talk, the Shins, and Neon Trees. That same year, Jay-Z appeared in a special performance made available only to American Express cardholders who also had SXSW badges.\u003c/p>\n\u003cp>While these corporate examples show how some sponsors are adding new barriers to entry, official SXSW showcases follow a three-tiered hierarchy. At the top are badge holders — fest attendees who shelled out anywhere from $650 (music badge) to $1750 (platinum SXSW badge) to attend both the fest’s panels and showcases. Underneath them are wristband holders, who pay $170-$190 for access to all official showcases. This option is limited to Austin residents. Lastly, there’s general admission attendees.\u003c/p>\n\u003cp>The good thing about SXSW is that, most often, there’s the possibility to get in anywhere. However, one encounters the significant downside when choosing one of the evening’s more popular bills. That’s when the politics of the hierarchy come into play — showcases honor badges before wristbands, and wristbands before general admission, regardless of how long someone has been waiting in line. When a venue hits capacity, all bets are off.\u003c/p>\n\u003ch2>“Ruining the Culture”\u003c/h2>\n\u003cfigure id=\"attachment_10515551\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada.jpg\" alt=\"Kaytranda performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"431\" class=\"size-full wp-image-10515551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Kaytranada-320x216.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranda performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>While it’s a necessary evil, Richmond rapper IamSu! is outspoken in his opposition to the priority hierarchy.\u003c/p>\n\u003cp>“I think it’s damn near ruining the culture,” he says. “It’s devaluing being a fan. That’s so lame, because I love to fan out.”\u003c/p>\n\u003cp>Su’s SXSW experience has changed drastically since he first attended in 2012. In the years since, he’s risen to become a major force in the Bay Area hip-hop scene, and as a result, access isn’t necessarily an issue anymore. But four years ago, calling the trip a struggle would be an understatement.\u003c/p>\n\u003cp>“Me and all my friends, we didn’t have a hotel to stay at the first time. We slept in our car the first night,” he recalls. “I had like maybe $800 to my name between the three of us. I was the only one that had some money to spend, so I got the room.”\u003c/p>\n\u003cp>Su’s friends had flown out to see him perform one song at one showcase, but thanks to the connections he made once he arrived, he was able to hop on stage as a special guest at four other performances. Last year, he lost his voice doing nine shows in three days.\u003c/p>\n\u003cp>This year, IamSu! had a supporting slot inside ACL’s 2,750-capacity Moody Theater at a show headlined by J. Cole and featuring support from Redman, Joey Bada$$ and G-Eazy. This time out, \u003cem>he\u003c/em> was the one able to bring out guests. Ensuring the Bay was in the building, he welcomed Too $hort to the stage to perform his hit “Blow the Whistle.”\u003c/p>\n\u003cp>“I did a lot of corporate shit this year,” Su admits, “but being able to walk around and just see fans, and for them to respond or respect us, that means everything,” he says.\u003c/p>\n\u003ch2>“Spontaneity at its Finest”\u003c/h2>\n\u003cfigure id=\"attachment_10515553\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah.jpg\" alt=\"San Jose singer Sweet Hayah performs on the sidewalk at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"431\" class=\"size-full wp-image-10515553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Sweet-Hayah-320x216.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Jose singer Sweet Hayah performs on the sidewalk at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>I encountered that pervasive feeling of respect my second night in Austin, when Los Angeles electronic producer Daedelus performed at Empire Control Room. In his red velvet suit jacket, he looked like a musical mad scientist, while triggering sounds from his MIDI with a notable ferocity. In the middle of his set, technical issues abruptly silenced his mixes on three separate occasions. Despite the setbacks, his audience remained encouraging with every stoppage, yelling out that they had no problem waiting to continue watching his set; he genuinely seemed to appreciate every call of support.\u003c/p>\n\u003cp>“Just because the corporate system is getting involved isn’t necessarily a bad thing,” insists Bobby Brackins. “That just means there’s more outlets for artists to be heard.” While some fans may be shut out of showcases, Brackins points out that such cases represent only one show in an artist’s performance schedule — and if fans miss someone, they should be able to see them when they tour their hometown.\u003c/p>\n\u003cp>Asked why he still chooses to return, Brackins cites an undeniable festival spirit.\u003c/p>\n\u003cp>“I just think it’s real,” he says. “It’s getting more corporate and mainstream, but a lot of aspects about it are still real and organic… Yeah, there’s huge artists out here, but people just want to hear good music, so even if you aren’t the biggest artist in the world, you can make new fans.”\u003c/p>\n\u003cp>Brackins mentions how special it is to see artists walking crowded Sixth Street after dark, casually rubbing shoulders with fans. That’s something Ziek McCarter, vocalist for the fast-rising San Francisco funk / soul outfit Con Brio, experienced first hand — a Houston native, he passed H-Town rapper Trae tha Truth and had to take a second look.\u003c/p>\n\u003cp>Of the artists I had a chance to speak with, McCarter was the only SXSW rookie. He and his band arrived in Austin with plenty of buzz; Con Brio had sold out their past two headlining shows in San Francisco at both the Independent and Rickshaw Stop.\u003c/p>\n\u003cp>In Austin, the group had a chance to sit in with Austin artist David Garza in front of a crowd McCarter estimates as “almost a thousand” in the parking lot of the Hotel San Jose on South Congress. In typical SXSW fashion, Con Brio’s appearance was organized the day before; Garza’s horn players wrote up charts for Con Brio that day.\u003c/p>\n\u003cp>“Spontaneity at its finest, and I love that,” McCarter says. “I love that just at the drop of a dime, you’ve got to deliver what you love.”\u003c/p>\n\u003cp>McCarter’s SXSW trip actually represented his musical story coming full circle: he graduated from high school in Cedar Park, near Austin, dreaming of being a performer, and “my dad used to go to Sixth Street all the time and play the blues,” he says. “I always wanted to go with him.”\u003c/p>\n\u003cp>He may not have been sitting in with his father, but McCarter performed like a man on a mission, throwing his body around the stage, doing the splits and holding rapt an audience that included past family and friends from his Texas upbringing.\u003c/p>\n\u003cp>McCarter says the unanimous praise for his band at SXSW helped reinforce the value of patience as an artist.\u003c/p>\n\u003cp>“That’s one of the beauties of life that keeps you believing and having faith in what you do, knowing that it may not be my time right now, but eventually, everything spins around and comes back around full circle,” he says. “It really enriches my faith a whole lot.”\u003c/p>\n\u003ch2>The Exhaustion of it All\u003c/h2>\n\u003cfigure id=\"attachment_10515554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs.jpg\" alt=\"Freddie Gibbs performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\" width=\"640\" height=\"436\" class=\"size-full wp-image-10515554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/SXSW-Freddie-Gibbs-320x218.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Freddie Gibbs performs at South by Southwest in Austin, 2015. (Photo: Brandon Roos)\u003c/figcaption>\u003c/figure>\n\u003cp>Just as McCarter had to do a double-take running into his Houston hero, I took a second look myself on Friday night when I made my way downstairs to Barcelona, a dark, dingy basement club with low ceilings and lots of bass. I’d lined up to catch DJ Sliink, one of the foremost ambassadors of a high-energy, high tempo variant of electronic music known at Jersey club.\u003c/p>\n\u003cp>But once I got a clear view of the DJ booth, I discovered legendary hip-hop producer Just Blaze on the decks. While he was able to sprinkle in some of his well-known hits — “Public Service Announcement” by Jay-Z and “I Really Mean It” by Dipset both get spins — the sonic menu called for mostly Jersey club and trap, anything that made liberal use of the gigantic subwoofers hiding in the space’s dark corners.\u003c/p>\n\u003cp>His appearance was an example of the special surprises often at play at SXSW. With so much talent congregating on the city, special guests tend to pop up frequently.\u003c/p>\n\u003cp>Of course, if you’re a guest who’s not special enough, SXSW can be more trouble than it’s worth.\u003c/p>\n\u003cp>While San Francisco punk band Creative Adult played SXSW in 2013 and 2014, they opted not to return this year. As for why they chose to make the trek in the first place, guitarist Michael Fenton says that “we just knew it was something we were interested in conquering as a band.”\u003c/p>\n\u003cp>Creative Adult’s experience was better the second year because they had more buzz, Fenton says, and though they loved the connections that they made — they met people from their label, old friends, their booking agent — what damaged the experience was the exhaustion of it all.\u003c/p>\n\u003cp>“I’m a creature of comfort,” Fenton says, “and SXSW is the opposite of that.”\u003c/p>\n\u003cp>Fenton has a biting take on SXSW from an artist’s perspective. “They don’t pay artists enough (if they’re lucky enough to get an official showcase),” he says. “It’s a waste of money. You’re not going to get recognized or play good shows if you’re not established. It just looks good on paper.”\u003c/p>\n\u003cp>However, he does note the value the experience provided him as a fan. In that respect, he says, “I think it’s great. I got to see tons of my favorite bands in intimate environments, for free usually.”\u003c/p>\n\u003ch2>New Believers\u003c/h2>\n\u003cp>Five and a half hours after Con Brio’s closing set, I stood in the TSA line at Austin Airport, slowly shuffling through a crowd of tired faces, most of whom looked like artists. \u003ca href=\"http://kxan.com/2015/03/23/after-sxsw-20000-expected-to-leave-austin-airport/\" target=\"_blank\" rel=\"noopener\">As WXAN reported\u003c/a>, I was simply one of 20,000 expected to leave by Monday evening.\u003c/p>\n\u003cp>Despite the denouement at hand, there’s a beauty in this scene. Practically all of these people came to Austin intent on furthering a dream, I thought to myself — one that requires significant financial risk in hopes of connecting with new believers. The sheer numbers speak to the power SXSW still holds among artists and fans alike.\u003c/p>\n\u003cp>As for whether he feels that power is worth it for up-and-coming acts, IamSu! provides an optimistic response, with some forewarning. “I think it’s cool if you come out here with a devised plan,” he says. “If you’re able to get on showcases, yeah. I don’t think you should waste your money if you’re not on any showcases — unless you’re just going to go watch shows and be a fan.”\u003c/p>\n\u003cp>Those thoughts are echoed by Fenton from Creative Adult, who cautions new bands that might be too overeager to play SXSW. “I’d tell them to wait until they were an established band before heading out,” Fenton advises, “unless they’re into debauchery for the hell of it.”\u003c/p>\n\u003cp>And even established acts can face the unpredictable ebb and flow of SXSW crowds. “It’s humbling out here, because you might do a show and it might be 50 people, then you might go do a show and have 700 people there,” shares Brackins. “You gotta humble yourself and be ready to go with whatever.”\u003c/p>\n\u003cp>“Going with whatever” can mean dealing with badge politics, corporate intrusion, traffic jams, low pay, no available hotel rooms and numerous other obstacles at SXSW. But cut through all of that, says McCarter, and it’s truly all about the music.\u003c/p>\n\u003cp>Catching him in the afterglow of another celebrated Con Brio performance, I ask whether the group would consider returning next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we’re available and the temperature is just right, we’d love to come back and do it again,” McCarter says. “There’s a lot of static, but at the end of the day, for us, this is just another stage, another opportunity to do what we love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jose Maria Condemi, New Director of Opera at SFCM, on 'L’elisir d’amore'",
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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/lelisir-damore/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘L’elisir d’amore’\u003c/h2>\n\u003cdiv class=\"event-desc\">Donizetti’s opera of young love.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 2 and 4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H. Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lelisir-damore/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you’re going to put on a classic opera about young love, who better to cast than the young? \u003c/p>\n\u003cp>On April 2 and 4, students from the San Francisco Conservatory of Music present a full-stage production of Donizetti’s \u003cem>L’elisir d’amore\u003c/em> — a performance marking the SFCM directorial debut of \u003ca href=\"http://www.josemariacondemi.com/\" target=\"_blank\" rel=\"noopener\">Jose Maria Condemi\u003c/a>, who \u003ca href=\"http://www.sfcm.edu/web/sfcm//newsroom/-/blogs/condemi-appointed-director-of-opera\" target=\"_blank\" rel=\"noopener\">has been named the new Director of Opera for SFCM\u003c/a>. \u003c/p>\n\u003cp>Written in 1832, \u003cem>L’elisir d’amore\u003c/em> is an opera staple about a country boy who falls in love with a well-read girl and tries to woo her by swigging “love potions” provided by a charlatan doctor. “It’s a very simple love story between two people who were destined to be together, but took a while to get there,” Condemi says. \u003c/p>\n\u003cp>Condemi, a veteran opera director who’s worked with companies from San Francisco to Buenos Aires, considers \u003cem>L’elisir d’amore\u003c/em> an excellent way to familiarize young singers with the simple, charming operas born out of the \u003cem>commedia dell’arte\u003c/em> tradition. But he’s also interested in preparing his students for the life of a working opera performer. \u003c/p>\n\u003cp>“I’d like to give them a sense of what the professional expectations of an opera singer are,” Condemi says. “They are students, but I treat them like professionals.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Condemi goes to great lengths to give his students a professional experience. He’s opted to stage this production in the original Italian, so his singers can practice arias in a foreign language. He also helped transform the concert hall into an opera house by expanding the orchestra pit and building a second smaller stage in front of the pit. To give the production a twist, he’s staging it circa 1950, so that Dr. Dulcamara can make his flashy arrival on a plane. \u003c/p>\n\u003cp>Adapting the Conservatory into an opera house has been quite fun, Condemi admits, as has working with the SFCM singers. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s always so exciting for me to be working with young singers,” Condemi said. “They have this amazing talent and they just need to be trained — and that’s what I’m here for.” \u003c/p>\n\n",
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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/punch-brothers/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Punch Brothers\u003c/h2>\n\u003cdiv class=\"event-desc\">Dynamic, daring bluegrass outfit.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 3–4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/punch-brothers/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since making their debut in 2008, Punch Brothers, the bluegrass ensemble led by Nickel Creek’s virtuosic mandolin player Chris Thile, have gained a reputation for diving headlong into the most unexpected of covers. Below is a compilation of the best, the silliest and the most left-field of ’em all. Have a favorite? Let us know, or be sure to share it with the band when they play the Fillmore April 3 and 4.\u003c/p>\n\u003cp>\u003cstrong>1. Radiohead’s “Kid A”\u003c/strong> – If you figured it would be impossible to recreate the electronics of Radiohead’s digital masterpiece with a fiddle and a banjo, think again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=igbbbWqDVbM\u003c/p>\n\u003cp>\u003cstrong>2. Beyonce’s “Love on Top”\u003c/strong> – This old-school soul jam from Beyonce’s 2011 album \u003cem>4\u003c/em> translates startlingly well to a pop-bluegrass tune, even if there \u003ca href=\"https://youtu.be/Ob7vObnFUJc?t=95\">aren’t any backup dancers\u003c/a> on hand.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MIe2UlLkX2o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. Wilco’s “Poor Places”\u003c/strong> – The group takes Wilco’s sprawling track and boils it down to its essential elements: a gorgeous melody and a delicate finger-picked chord pattern.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xwqkRm547tU\u003c/p>\n\u003cp>\u003cstrong>4. The Beatles’ “Paperback Writer” \u003c/strong>– Those harmonies were just \u003cem>made\u003c/em> for a bluegrass twist, and the chugging mandolin proves you don’t need Ringo to make this song shoot off like a rocket.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fj8FIksqo7w\u003c/p>\n\u003cp>\u003cstrong>5. The Strokes’ “Reptilia”\u003c/strong> – Paul Kowert’s bass sounds just as menacing as the Strokes’, and the fiddle somehow recreates the surge of feedback in the intro perfectly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qayc6yJXG-8\u003c/p>\n\u003cp>\u003cstrong>6. White Stripes’ “Dead Leaves and the Dirty Ground” – \u003c/strong>Picking up the tempo of the White Stripes blues-rock anthem, Punch Brothers turn it into a romp that would sound right at home in \u003cem>O Brother, Where Art Thou?\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-uhX3SRZetM\u003c/p>\n\u003cp>\u003cstrong>7. Of Montreal’s “Gronlandic Edit”\u003c/strong> – Perhaps the least expected of them all, the group keeps the song’s \u003ca href=\"https://www.youtube.com/watch?v=HBfgQvM7wtE\">funky bass line\u003c/a>, and nails the absurdly-high harmonies, while still making it their own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ebBK6zF1sBI\u003c/p>\n\u003cp>\u003cstrong>8. The Cars’ “Just What I Needed” \u003c/strong> – Even when they’re goofing off, as in this live performance at the AV Club, Thile and Co. can’t help but totally kill it. Plus, if you have any doubts that Punch Brothers are ready and willing to laugh at themselves, just wait for the end.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yxgr-Ebpidw\u003c/p>\n\u003cp>\u003cstrong>9. J.S. Bach’s \u003cem>Brandenburg Concerto No. 3\u003c/em>, “III: Allegro in G Major”\u003c/strong> – While many of Punch Brothers’ covers reveal their sense of humor and their willingness to ditch bluegrass conventions, this Bach performance showcases their virtuoso talent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rcZDI63yO1c\u003c/p>\n\u003cp>\u003cstrong>10. “The Auld Triangle”\u003c/strong> – With their pal Marcus Mumford, Punch Brothers reach back into the annals of folk music to treat fans to this a cappella tale of making love in a state prison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9vi14x4nCpQ\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/punch-brothers/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Punch Brothers\u003c/h2>\n\u003cdiv class=\"event-desc\">Dynamic, daring bluegrass outfit.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 3–4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/punch-brothers/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since making their debut in 2008, Punch Brothers, the bluegrass ensemble led by Nickel Creek’s virtuosic mandolin player Chris Thile, have gained a reputation for diving headlong into the most unexpected of covers. Below is a compilation of the best, the silliest and the most left-field of ’em all. Have a favorite? Let us know, or be sure to share it with the band when they play the Fillmore April 3 and 4.\u003c/p>\n\u003cp>\u003cstrong>1. Radiohead’s “Kid A”\u003c/strong> – If you figured it would be impossible to recreate the electronics of Radiohead’s digital masterpiece with a fiddle and a banjo, think again.\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/igbbbWqDVbM'\n title='//www.youtube.com/embed/igbbbWqDVbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2. Beyonce’s “Love on Top”\u003c/strong> – This old-school soul jam from Beyonce’s 2011 album \u003cem>4\u003c/em> translates startlingly well to a pop-bluegrass tune, even if there \u003ca href=\"https://youtu.be/Ob7vObnFUJc?t=95\">aren’t any backup dancers\u003c/a> on hand.\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/MIe2UlLkX2o'\n title='//www.youtube.com/embed/MIe2UlLkX2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3. Wilco’s “Poor Places”\u003c/strong> – The group takes Wilco’s sprawling track and boils it down to its essential elements: a gorgeous melody and a delicate finger-picked chord pattern.\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/xwqkRm547tU'\n title='//www.youtube.com/embed/xwqkRm547tU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. The Beatles’ “Paperback Writer” \u003c/strong>– Those harmonies were just \u003cem>made\u003c/em> for a bluegrass twist, and the chugging mandolin proves you don’t need Ringo to make this song shoot off like a rocket.\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/Fj8FIksqo7w'\n title='//www.youtube.com/embed/Fj8FIksqo7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. The Strokes’ “Reptilia”\u003c/strong> – Paul Kowert’s bass sounds just as menacing as the Strokes’, and the fiddle somehow recreates the surge of feedback in the intro perfectly.\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/qayc6yJXG-8'\n title='//www.youtube.com/embed/qayc6yJXG-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>6. White Stripes’ “Dead Leaves and the Dirty Ground” – \u003c/strong>Picking up the tempo of the White Stripes blues-rock anthem, Punch Brothers turn it into a romp that would sound right at home in \u003cem>O Brother, Where Art Thou?\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-uhX3SRZetM'\n title='//www.youtube.com/embed/-uhX3SRZetM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>7. Of Montreal’s “Gronlandic Edit”\u003c/strong> – Perhaps the least expected of them all, the group keeps the song’s \u003ca href=\"https://www.youtube.com/watch?v=HBfgQvM7wtE\">funky bass line\u003c/a>, and nails the absurdly-high harmonies, while still making it their own.\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/ebBK6zF1sBI'\n title='//www.youtube.com/embed/ebBK6zF1sBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>8. The Cars’ “Just What I Needed” \u003c/strong> – Even when they’re goofing off, as in this live performance at the AV Club, Thile and Co. can’t help but totally kill it. 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Bach’s \u003cem>Brandenburg Concerto No. 3\u003c/em>, “III: Allegro in G Major”\u003c/strong> – While many of Punch Brothers’ covers reveal their sense of humor and their willingness to ditch bluegrass conventions, this Bach performance showcases their virtuoso talent.\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/rcZDI63yO1c'\n title='//www.youtube.com/embed/rcZDI63yO1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>10. “The Auld Triangle”\u003c/strong> – With their pal Marcus Mumford, Punch Brothers reach back into the annals of folk music to treat fans to this a cappella tale of making love in a state prison.\u003c/p>\n\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/9vi14x4nCpQ'\n title='//www.youtube.com/embed/9vi14x4nCpQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of the best new bands from SXSW 2015.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SXSW_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The early word on \u003cstrong>\u003ca href=\"http://www.sxsw.com\">South by Southwest 2015\u003c/a>\u003c/strong> was that the music/technology/film conference and festival was \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6502078/sxsw-enters-its-post-doritos-phase-but-the-brand-party-is\">scaling back this year\u003c/a>, with a significant reduction in permitted events, global mega-brands as sponsors, and parties headlined by top mainstream acts. And while all of that was true, the week seemed to afford as many opportunities as ever to see a wide variety of emerging indie talent from around the world. If this is the scaled-down SXSW, then its future is safe for indie bands and fans alike.\u003c/p>\n\u003cp>This mixtape collects a dozen of our favorite artists that we saw in Austin this year, a musically and geographically varied group that you’ll want to keep an eye on in 2015. Most of these artists are likely to hit the San Francisco Bay Area this year, and you’ll definitely want to check them out!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jfernandezsongs\">J Fernandez\u003c/a>\u003c/strong> – “Cosmic Was”\u003cbr>\nFrom: Chicago, Illinois\u003cbr>\nIs Justin Fernandez destined to be one of those great, under-appreciated art-pop geniuses? Stumbling upon his set at the Mohawk purely by chance, I was blown away by his ability to fit psychy sounds and offbeat rhythms into a pop framework. Fans of Robyn Hitchcock and Television Personalities, dig into Fernandez’s three EPs.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/TORRESMUSICOFFICIAL\">Torres\u003c/a>\u003c/strong> – “Strange Hellos”\u003cbr>\nFrom: Brooklyn, New York\u003cbr>\nTorres was the first band we caught at South by Southwest, and Mackenzie Scott’s performance left a strong impression that stuck around throughout the week. Scott’s commanding voice and direct lyrics are a powerful presence, soaring over dense, knotty instrumental accompaniments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/girlband\">Girl Band\u003c/a>\u003c/strong> – “Lawman”\u003cbr>\nFrom: Dublin, Ireland\u003cbr>\nNoise-rock with a punk intensity, Girl Band is a monster of a live band. Singer Dara Kiely floats somewhere between distressed and unhinged, while the guitar and bass create strange noises that often sound something like the inside of a jet engine. That being said, the group’s music remains remarkably melodic even while it pummels.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/makthaverskanofficial\">Makthaverskan\u003c/a>\u003c/strong> – “Witness”\u003cbr>\nFrom: Gothenburg, Sweden\u003cbr>\nLanding squarely in the middle of some punk/post-punk/jangle-pop Venn diagram, Makthaverskan’s best weapon is Maja Milner’s operatic vocals, which supercharge the emotional weight of songs about heartbreak and loss. And despite what that might sound like, the band’s live performances also manage be to extremely fun and full of energy. Highly recommended.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ALVVAYS\">Alvvays\u003c/a>\u003c/strong> – “Party Police”\u003cbr>\nFrom: Toronto, Ontario, Canada\u003cbr>\nIt almost feels unfair to lump Alvvays in with the rest of these bands, given the buzz that the quintent amassed around the release of their self-titled LP last year. But the fact that Alvvays was playing a zillion shows in Austin during the week made it feel like the band’s true arrival as indie pop’s emerging stars. Few bands, I suspect, could sound equally great in a cavernous warehouse and on a patio, but they managed to do just that.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Shamir/699660353456278\">Shamir\u003c/a>\u003c/strong> – “On the Regular”\u003cbr>\nFrom: Las Vegas, Nevada\u003cbr>\nSeeing Shamir Bailey onstage at Stubb’s, one would be forgiven for already assuming that the singer is a bona fide pop star. Armed with an addictive array of dance-pop ear worms and a unique vocal range, it’s only a matter of time before Shamir blows up. That time might be fast approaching, with a debut album arriving on XL Recordings in May.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Death-Valley-Girls/626395517387657\">Death Valley Girls\u003c/a>\u003c/strong> – “Gettin’ Hard”\u003cbr>\nFrom: Los Angeles, California\u003cbr>\nFor a group often labeled as “garage-punk,” Death Valley Girls’ set at the Hotel Vegas felt significantly psych-inspired as well, with fuzzed-out, primitive jams that were downright entrancing. The band’s debut LP, \u003cem>Street Venom\u003c/em>, came out last year, along with a 7″ on Lolipop Records shortly thereafter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MitskiLeaks\">Mitski\u003c/a>\u003c/strong> – “I Don’t Smoke”\u003cbr>\nFrom: Brooklyn, New York\u003cbr>\n2014’s \u003cem>Bury Me at Makeout Creek\u003c/em> is actually Mitski’s third album, a collection of downer noise-pop that is full of catchy melodies and despondent lyrics. On stage, the singer-songwriter is fittingly powerful and vulnerable–the final song I saw was a raw, solo vocal performance that bordered on devastating. A reissue of \u003cem>Makeout Creek\u003c/em> is forthcoming on Don Giovanni Records, which should continue to bring this musician well-deserved acclaim.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/NataliePrass\">Natalie Prass\u003c/a>\u003c/strong> – “Why Don’t You Believe In Me”\u003cbr>\nFrom: Nashville, Tennessee\u003cbr>\nMuch of the praise for \u003cem>Natalie Prass\u003c/em> understandably focused around the album’s lush horn and string arrangements, but Prass’ performances in Austin with a three-piece band allowed her quiet, tender vocals to shine. On stage, the singer described one of her tracks self-effacingly as a “Disney princess” song, but there’s real emotion, not manufactured sentiment, in her earnest compositions.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ultimatepainting.tumblr.com/\">Ultimate Painting\u003c/a>\u003c/strong> – “Central Park Blues”\u003cbr>\nFrom: London, United Kingdom\u003cbr>\nUltimate Painting unites the talents of Jack Cooper and James Hoare from UK indie-pop gems Mazes and Veronica Falls. Instead of sounding like some mish-mash of those bands, though, the duo seem more interested in crafting stripped-down, jangly cuts in the spirit of the Velvets and Television. Trouble in Mind Records only puts out quality, and this one’s no different.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://wandband.info/\">Wand\u003c/a>\u003c/strong> – “Self Hypnosis in 3 Days”\u003cbr>\nFrom: Los Angeles, California\u003cbr>\nWand’s Cory Thomas Hanson has built quite a resume in recent years, playing with Mikal Cronin, Meatbodies, and together PANGEA. His band’s set at the Hotel Vegas felt decidedly heavier than any of those bands, boasting some serious guitar shredding to boot. The group’s new LP \u003cem>Golem\u003c/em> just arrived on In the Red, making it well worth checking out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bullythemusic\">Bully\u003c/a>\u003c/strong> – “Milkman”\u003cbr>\nFrom: Nashville, Tennesse\u003cbr>\nThis Nashville quartet delivers immediate, riff-driven tunes that call to mind everything from The Replacements to Seattle grunge. That sound is likely to carry through to the band’s forthcoming debut album, which was recorded at Steve Albini’s Electrical Audio studio (where bandleader Alicia Bognanno used to intern).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of the best new bands from SXSW 2015.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SXSW_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The early word on \u003cstrong>\u003ca href=\"http://www.sxsw.com\">South by Southwest 2015\u003c/a>\u003c/strong> was that the music/technology/film conference and festival was \u003ca href=\"http://www.billboard.com/articles/columns/music-festivals/6502078/sxsw-enters-its-post-doritos-phase-but-the-brand-party-is\">scaling back this year\u003c/a>, with a significant reduction in permitted events, global mega-brands as sponsors, and parties headlined by top mainstream acts. And while all of that was true, the week seemed to afford as many opportunities as ever to see a wide variety of emerging indie talent from around the world. If this is the scaled-down SXSW, then its future is safe for indie bands and fans alike.\u003c/p>\n\u003cp>This mixtape collects a dozen of our favorite artists that we saw in Austin this year, a musically and geographically varied group that you’ll want to keep an eye on in 2015. Most of these artists are likely to hit the San Francisco Bay Area this year, and you’ll definitely want to check them out!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jfernandezsongs\">J Fernandez\u003c/a>\u003c/strong> – “Cosmic Was”\u003cbr>\nFrom: Chicago, Illinois\u003cbr>\nIs Justin Fernandez destined to be one of those great, under-appreciated art-pop geniuses? Stumbling upon his set at the Mohawk purely by chance, I was blown away by his ability to fit psychy sounds and offbeat rhythms into a pop framework. Fans of Robyn Hitchcock and Television Personalities, dig into Fernandez’s three EPs.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/TORRESMUSICOFFICIAL\">Torres\u003c/a>\u003c/strong> – “Strange Hellos”\u003cbr>\nFrom: Brooklyn, New York\u003cbr>\nTorres was the first band we caught at South by Southwest, and Mackenzie Scott’s performance left a strong impression that stuck around throughout the week. Scott’s commanding voice and direct lyrics are a powerful presence, soaring over dense, knotty instrumental accompaniments.\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/girlband\">Girl Band\u003c/a>\u003c/strong> – “Lawman”\u003cbr>\nFrom: Dublin, Ireland\u003cbr>\nNoise-rock with a punk intensity, Girl Band is a monster of a live band. Singer Dara Kiely floats somewhere between distressed and unhinged, while the guitar and bass create strange noises that often sound something like the inside of a jet engine. That being said, the group’s music remains remarkably melodic even while it pummels.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/makthaverskanofficial\">Makthaverskan\u003c/a>\u003c/strong> – “Witness”\u003cbr>\nFrom: Gothenburg, Sweden\u003cbr>\nLanding squarely in the middle of some punk/post-punk/jangle-pop Venn diagram, Makthaverskan’s best weapon is Maja Milner’s operatic vocals, which supercharge the emotional weight of songs about heartbreak and loss. And despite what that might sound like, the band’s live performances also manage be to extremely fun and full of energy. Highly recommended.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ALVVAYS\">Alvvays\u003c/a>\u003c/strong> – “Party Police”\u003cbr>\nFrom: Toronto, Ontario, Canada\u003cbr>\nIt almost feels unfair to lump Alvvays in with the rest of these bands, given the buzz that the quintent amassed around the release of their self-titled LP last year. But the fact that Alvvays was playing a zillion shows in Austin during the week made it feel like the band’s true arrival as indie pop’s emerging stars. Few bands, I suspect, could sound equally great in a cavernous warehouse and on a patio, but they managed to do just that.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Shamir/699660353456278\">Shamir\u003c/a>\u003c/strong> – “On the Regular”\u003cbr>\nFrom: Las Vegas, Nevada\u003cbr>\nSeeing Shamir Bailey onstage at Stubb’s, one would be forgiven for already assuming that the singer is a bona fide pop star. Armed with an addictive array of dance-pop ear worms and a unique vocal range, it’s only a matter of time before Shamir blows up. That time might be fast approaching, with a debut album arriving on XL Recordings in May.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Death-Valley-Girls/626395517387657\">Death Valley Girls\u003c/a>\u003c/strong> – “Gettin’ Hard”\u003cbr>\nFrom: Los Angeles, California\u003cbr>\nFor a group often labeled as “garage-punk,” Death Valley Girls’ set at the Hotel Vegas felt significantly psych-inspired as well, with fuzzed-out, primitive jams that were downright entrancing. The band’s debut LP, \u003cem>Street Venom\u003c/em>, came out last year, along with a 7″ on Lolipop Records shortly thereafter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MitskiLeaks\">Mitski\u003c/a>\u003c/strong> – “I Don’t Smoke”\u003cbr>\nFrom: Brooklyn, New York\u003cbr>\n2014’s \u003cem>Bury Me at Makeout Creek\u003c/em> is actually Mitski’s third album, a collection of downer noise-pop that is full of catchy melodies and despondent lyrics. On stage, the singer-songwriter is fittingly powerful and vulnerable–the final song I saw was a raw, solo vocal performance that bordered on devastating. A reissue of \u003cem>Makeout Creek\u003c/em> is forthcoming on Don Giovanni Records, which should continue to bring this musician well-deserved acclaim.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/NataliePrass\">Natalie Prass\u003c/a>\u003c/strong> – “Why Don’t You Believe In Me”\u003cbr>\nFrom: Nashville, Tennessee\u003cbr>\nMuch of the praise for \u003cem>Natalie Prass\u003c/em> understandably focused around the album’s lush horn and string arrangements, but Prass’ performances in Austin with a three-piece band allowed her quiet, tender vocals to shine. On stage, the singer described one of her tracks self-effacingly as a “Disney princess” song, but there’s real emotion, not manufactured sentiment, in her earnest compositions.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ultimatepainting.tumblr.com/\">Ultimate Painting\u003c/a>\u003c/strong> – “Central Park Blues”\u003cbr>\nFrom: London, United Kingdom\u003cbr>\nUltimate Painting unites the talents of Jack Cooper and James Hoare from UK indie-pop gems Mazes and Veronica Falls. Instead of sounding like some mish-mash of those bands, though, the duo seem more interested in crafting stripped-down, jangly cuts in the spirit of the Velvets and Television. Trouble in Mind Records only puts out quality, and this one’s no different.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://wandband.info/\">Wand\u003c/a>\u003c/strong> – “Self Hypnosis in 3 Days”\u003cbr>\nFrom: Los Angeles, California\u003cbr>\nWand’s Cory Thomas Hanson has built quite a resume in recent years, playing with Mikal Cronin, Meatbodies, and together PANGEA. His band’s set at the Hotel Vegas felt decidedly heavier than any of those bands, boasting some serious guitar shredding to boot. The group’s new LP \u003cem>Golem\u003c/em> just arrived on In the Red, making it well worth checking out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bullythemusic\">Bully\u003c/a>\u003c/strong> – “Milkman”\u003cbr>\nFrom: Nashville, Tennesse\u003cbr>\nThis Nashville quartet delivers immediate, riff-driven tunes that call to mind everything from The Replacements to Seattle grunge. That sound is likely to carry through to the band’s forthcoming debut album, which was recorded at Steve Albini’s Electrical Audio studio (where bandleader Alicia Bognanno used to intern).\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"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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},
"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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"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",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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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",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"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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