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"bio": "Brian Eder lives and works in the industrious city of San Jose, CA. He's best known for his role as the co-curator of \u003ca title=\"ANNO DOMINI Gallery\" href=\"http://www.galleryAD.com\" target=\"_blank\">ANNO DOMINI Gallery\u003c/a> that he and his partner, \u003ca href=\"http://ww2.kqed.org/arts/author/clakey/\" target=\"_blank\">Cherri Lakey\u003c/a>, founded in 2000. He's also the co-producer of San Jose's SubZERO Festival, an annual gathering of the progenitors of culture promoting subculture and indie music since 2008. He joins KQED Arts as one of their newest Contributors beginning in the Fall of 2014. \u003ca class=\"twitter-follow-button\" href=\"https://twitter.com/atmcmnk\" data-show-count=\"false\">Follow @atmcmnk\u003c/a>\r\n\u003cscript>// \u003c![CDATA[\r\n!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');\r\n// ]]>\u003c/script>",
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"title": "Talib Kweli, Randy Newman, tUnE-yArDs Highlight Stern Grove Festival",
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"content": "\u003cp>Now in its 78th year, the \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> is the antidote to packed music festivals like Coachella and Outside Lands that can cost hundreds of dollars and, occasionally, one’s sanity. Stern Grove is always free. Its acoustics are always good. And the setting? Amid trees that climb forever, the summer series is always inspiring (and usually foggy). \u003c/p>\n\u003cp>Unlike Coachella, Outside Lands and Hardly Strictly Bluegrass, Stern Grove is stretched out over two months — every Sunday from June 14 through August 16. So music-goers get to prolong their engagement with the headliners, who this summer offer a little bit of everything, including hip-hop, classical, Latin, ’70s rock, and modern folk-rock influenced by world music.\u003c/p>\n\u003cp>About 10,000 people can fit into Stern Grove’s setting at 19th Avenue and Sloat Boulevard, but you’ll need to get there early (way before the 2pm start) for good seats. Every one of this year’s acts has a loyal following:\u003c/p>\n\u003cp>\u003cstrong>June 14: The Doobie Brothers and California Honeydrops\u003c/strong>. \u003ca href=\"http://en.wikipedia.org/wiki/The_Doobie_Brothers\" target=\"_blank\" rel=\"noopener\">The Doobie Brothers\u003c/a> have endured for 40 years, playing the kind of pop folk that’s catchy and unpretentious. One example: “\u003ca href=\"https://www.youtube.com/watch?v=bJqk2yWUGTM\" target=\"_blank\" rel=\"noopener\">Listen to the Music\u003c/a>,” first released in 1972, is a timeless directive to make the world a better place. (It’s also clichéd music for those who’ve heard it too often and those who never liked the song in the first place.) Meanwhile, the \u003ca href=\"http://www.cahoneydrops.com/\" target=\"_blank\" rel=\"noopener\">California Honeydrops\u003c/a> are a Bay Area group that plays “party” music influenced by blues, jazz, and other genres. A ticketed benefit for the fest, called “The Big Picnic,” precedes these performances.\u003c/p>\n\u003cp>\u003cstrong>June 21: Pacific Mambo Orchestra, with Sheila E., Marlow Rosado, and Salsamania Dance Company\u003c/strong>. The Bay Area-based \u003ca title=\"PMO\" href=\"http://www.pacificmambo.com/\" target=\"_blank\" rel=\"noopener\">Pacific Mambo Orchestra\u003c/a>, founded in 2010, plays infectious Latin Big Band music. You don’t sit at a Pacific Mambo Orchestra — you dance, shout, and shimmy with anyone in sight. At last year’s Grammys, when PMO won Best Tropical Latin Album for its self-titled debut, \u003cem>Billboard\u003c/em> magazine \u003ca href=\"http://www.billboard.com/articles/events/grammys-2014/5885489/little-known-pacific-mambo-orchestra-takes-tropical-grammy-from\" target=\"_blank\" rel=\"noopener\">called the group\u003c/a> “little-known.” That label doesn’t apply anymore. It certainly doesn’t apply to \u003ca href=\"http://www.sheilae.com/#sthash.annEsNbT.dpbs\">Sheila E.\u003c/a>, the daughter of Latin percussionist Peter Escovedo, who’s a whirling dervish in her own right. Pianist Marlow Rosado and the Salsamania Dance Company add to the day’s atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_10604602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg\" alt=\"Randy Newman.\" width=\"400\" height=\"401\" class=\"size-thumbnail wp-image-10604602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-960x963.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Randy Newman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 28: Randy Newman and Hot Club of San Francisco\u003c/strong>. Like the Doobie Brothers, \u003ca href=\"http://en.wikipedia.org/wiki/Randy_Newman\">Randy Newman\u003c/a> has been around seemingly forever. Where would the American songbook be without songs like “\u003ca href=\"https://www.youtube.com/watch?v=1NvgLkuEtkA\">Short People\u003c/a>” and “\u003ca href=\"http://en.wikipedia.org/wiki/You%27ve_Got_a_Friend_in_Me\">You’ve Got a Friend in Me\u003c/a>?” Newman’s tunes are biting and sentimental, funny and undermining. \u003ca href=\"http://www.hcsf.com/\">The Hot Club of San Francisco\u003c/a> opens with sweet songs that echo with the sounds of 1930s Paris and other bygone eras — a perfect complement to Newman’s brand of shiny, shiny music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>July 5: San Francisco Symphony.\u003c/strong> Conductor \u003ca href=\"http://www.sfsymphony.org/About-Us/Michael-Tilson-Thomas\">Michael Tilson Thomas\u003c/a> won’t be here, replaced for this concert by \u003ca href=\"http://www.edwinoutwater.com/biography/\">Edwin Outwater\u003c/a>, the symphony’s Director of Summer Concerts. No matter: under Outwater’s direction, the \u003ca href=\"http://www.sfsymphony.org/\">San Francisco Symphony\u003c/a> is still a formidable entity. The orchestra will be joined by vocalist \u003ca href=\"http://www.mybrightestdiamond.com/bio/\">Shara Worden\u003c/a>, whose \u003ca href=\"http://www.mybrightestdiamond.com/videos/\">voice\u003c/a> carries far and wide in her stewardship of the group My Brightest Diamond.\u003c/p>\n\u003cp>\u003cstrong>July 12: Amy Hānaiali‘i with the Stern Grove Festival Orchestra and Halau ‘o Keikiali‘i\u003c/strong>. You wanted Hawaiian music? You have it with this day’s homage to the genre. \u003ca href=\"http://www.amyhanaialiigilliom.com/\">Hānaiali‘i\u003c/a>, the island state’s best-selling female vocalist, sings in the Hawaiian language, bringing its distinct vocalization to \u003ca href=\"https://www.youtube.com/watch?v=eUlWzurgptk\">songs\u003c/a> that, in other hands, can devolve into touristy kitsch. She’ll perform with an orchestra overseen by \u003ca href=\"http://www.mattcatingub.com/\">Matt Catingub\u003c/a>, who’s artistic director and founder of the Hawaii Pops in Honolulu. Opening is Halau ‘o Keikiali‘i, a Hawaiian group based in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10604880\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10604880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg\" alt=\"DakhaBrakha\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg 467w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DakhaBrakha \u003ccite>(By Olga Zakrevska)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 19\u003c/strong>: \u003cstrong>tUnE-yArDs and DakhaBrakha\u003c/strong>. “Wacky” is one way to describe \u003ca href=\"http://tune-yards.com/\">tune-yArDs\u003c/a>, an American group led by \u003ca href=\"https://twitter.com/tuneyards\">Merrill Garbus\u003c/a> that, on YouTube, gets millions of views with its theatrical songs like “\u003ca href=\"https://www.youtube.com/watch?v=YQ1LI-NTa2s\">Bizness\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=AwDEQWaSiEU\">Real Live Flesh\u003c/a>.” \u003ca href=\"http://www.dakhabrakha.com.ua/eng/BAND\">DakhaBrakha\u003c/a> is a Ukrainian quartet that on songs like “\u003ca href=\"https://www.youtube.com/watch?v=bJvbC1MREuQ\">Baby\u003c/a>” channels the spirit of cultures around the world, including America’s. The two groups’ songs occasionally intersect in memorable ways.\u003c/p>\n\u003cp>\u003cstrong>July 26: San Francisco Ballet\u003c/strong>. Two months after the \u003ca href=\"https://www.sfballet.org/\">San Francisco Ballet\u003c/a> completes its 2015 repertory season, it performs excerpts from the repertory \u003cem>en plein air\u003c/em> at Stern Grove.\u003c/p>\n\u003cp>\u003cstrong>August 2: Mary Chapin Carpenter and Bhi Bhiman\u003c/strong>. Country-ish singer Mary Chapin Carpenter — she of hits like “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">I Feel Lucky\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">Passionate Kisses\u003c/a>” — is twinned with \u003ca href=\"http://www.pledgemusic.com/artists/bhibhiman\">Bhi Bhiman\u003c/a>, who is grounded in American roots music that references his Sri Lankan roots, as in the song “\u003ca href=\"https://www.youtube.com/watch?v=_YP1lIEM1s4\">Guttersnipe\u003c/a>.” The pairing is yin and yang, with Carpenter’s slick sound a bookend to Bhiman’s more soulful expressions about life on the edge.\u003c/p>\n\u003cp>\u003cstrong>August 9: Morris Day & The Time and Con Brio\u003c/strong>. History will be kind to \u003ca href=\"http://en.wikipedia.org/wiki/Morris_Day\">Morris Day\u003c/a>, who first made a big name for himself with Prince in the 1984 movie \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Purple_Rain_%28film%29\">Purple Rain\u003c/a>\u003c/em>. Thirty years on, “\u003ca href=\"https://www.youtube.com/watch?v=919Gt1SczVY\">Jungle Love\u003c/a>” holds up as a raucous plea for love and physical contact. The Time, Day’s longtime group, cranks up the energy levels that Day feeds off of. \u003ca href=\"http://www.thebandconbrio.com/home/band/\">Con Brio\u003c/a> is in that same orbit, playing the kind of funk and soul that drives people into fits of delight.\u003c/p>\n\u003cfigure id=\"attachment_10605025\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10605025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg\" alt=\"Talib Kweli\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg 640w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Talib Kweli \u003ccite>(Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August 16: Talib Kweli and Zakiya Harris\u003c/strong>. \u003ca href=\"http://www.talibkweli.com/\">Talib Kweli\u003c/a> wants to change the world with his brand of hip-hop, exemplified by “\u003ca href=\"https://www.youtube.com/watch?v=UVtpXvzzXiA\">Get By\u003c/a>,” a smart and moving hit that references drug dealing, consumerism, Norman Mailer, John Lennon, the U.S. prison system, and scores of other names and subjects to comment on the state of the world. \u003ca href=\"http://www.zakiyaharris.com/\">Zakiya Harris\u003c/a> is also doing her best to change the world, through teaching, organizing, and, yes, \u003ca href=\"http://www.zakiyaharris.com/music/\">making music\u003c/a> that’s important to hear.\u003c/p>\n\u003cp>To emphasize the connection between art, audience, and the festival’s natural setting, Stern Grove organizers commissioned seven of this year’s performers – all from the Bay Area – to create works for a series called “Interplay: Artists in Concert With Nature.” The seven performers: California Honeydrops; Pacific Mambo Orchestra; Con Brio; Hot Club of San Francisco; Hālau o Keikiali’I; Bhi Bhiman; Zakiya Harris, featuring the group Elephantine. So each of these seven will do works never heard prior to their Stern Grove performance. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stern Grove Festival runs every Sunday from June 14 to August 16 at San Francisco’s Stern Grove, 19th Avenue and Sloat Boulevard. All concerts are free and start at 2pm. \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For the 70th annual Stern Grove, the festival's organizers pulled out all the stops and lined up a series of groups that have both a little bit of everything and a local following.",
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"description": "For the 70th annual Stern Grove, the festival's organizers pulled out all the stops and lined up a series of groups that have both a little bit of everything and a local following.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 78th year, the \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> is the antidote to packed music festivals like Coachella and Outside Lands that can cost hundreds of dollars and, occasionally, one’s sanity. Stern Grove is always free. Its acoustics are always good. And the setting? Amid trees that climb forever, the summer series is always inspiring (and usually foggy). \u003c/p>\n\u003cp>Unlike Coachella, Outside Lands and Hardly Strictly Bluegrass, Stern Grove is stretched out over two months — every Sunday from June 14 through August 16. So music-goers get to prolong their engagement with the headliners, who this summer offer a little bit of everything, including hip-hop, classical, Latin, ’70s rock, and modern folk-rock influenced by world music.\u003c/p>\n\u003cp>About 10,000 people can fit into Stern Grove’s setting at 19th Avenue and Sloat Boulevard, but you’ll need to get there early (way before the 2pm start) for good seats. Every one of this year’s acts has a loyal following:\u003c/p>\n\u003cp>\u003cstrong>June 14: The Doobie Brothers and California Honeydrops\u003c/strong>. \u003ca href=\"http://en.wikipedia.org/wiki/The_Doobie_Brothers\" target=\"_blank\" rel=\"noopener\">The Doobie Brothers\u003c/a> have endured for 40 years, playing the kind of pop folk that’s catchy and unpretentious. One example: “\u003ca href=\"https://www.youtube.com/watch?v=bJqk2yWUGTM\" target=\"_blank\" rel=\"noopener\">Listen to the Music\u003c/a>,” first released in 1972, is a timeless directive to make the world a better place. (It’s also clichéd music for those who’ve heard it too often and those who never liked the song in the first place.) Meanwhile, the \u003ca href=\"http://www.cahoneydrops.com/\" target=\"_blank\" rel=\"noopener\">California Honeydrops\u003c/a> are a Bay Area group that plays “party” music influenced by blues, jazz, and other genres. A ticketed benefit for the fest, called “The Big Picnic,” precedes these performances.\u003c/p>\n\u003cp>\u003cstrong>June 21: Pacific Mambo Orchestra, with Sheila E., Marlow Rosado, and Salsamania Dance Company\u003c/strong>. The Bay Area-based \u003ca title=\"PMO\" href=\"http://www.pacificmambo.com/\" target=\"_blank\" rel=\"noopener\">Pacific Mambo Orchestra\u003c/a>, founded in 2010, plays infectious Latin Big Band music. You don’t sit at a Pacific Mambo Orchestra — you dance, shout, and shimmy with anyone in sight. At last year’s Grammys, when PMO won Best Tropical Latin Album for its self-titled debut, \u003cem>Billboard\u003c/em> magazine \u003ca href=\"http://www.billboard.com/articles/events/grammys-2014/5885489/little-known-pacific-mambo-orchestra-takes-tropical-grammy-from\" target=\"_blank\" rel=\"noopener\">called the group\u003c/a> “little-known.” That label doesn’t apply anymore. It certainly doesn’t apply to \u003ca href=\"http://www.sheilae.com/#sthash.annEsNbT.dpbs\">Sheila E.\u003c/a>, the daughter of Latin percussionist Peter Escovedo, who’s a whirling dervish in her own right. Pianist Marlow Rosado and the Salsamania Dance Company add to the day’s atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_10604602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg\" alt=\"Randy Newman.\" width=\"400\" height=\"401\" class=\"size-thumbnail wp-image-10604602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-960x963.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Randy Newman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 28: Randy Newman and Hot Club of San Francisco\u003c/strong>. Like the Doobie Brothers, \u003ca href=\"http://en.wikipedia.org/wiki/Randy_Newman\">Randy Newman\u003c/a> has been around seemingly forever. Where would the American songbook be without songs like “\u003ca href=\"https://www.youtube.com/watch?v=1NvgLkuEtkA\">Short People\u003c/a>” and “\u003ca href=\"http://en.wikipedia.org/wiki/You%27ve_Got_a_Friend_in_Me\">You’ve Got a Friend in Me\u003c/a>?” Newman’s tunes are biting and sentimental, funny and undermining. \u003ca href=\"http://www.hcsf.com/\">The Hot Club of San Francisco\u003c/a> opens with sweet songs that echo with the sounds of 1930s Paris and other bygone eras — a perfect complement to Newman’s brand of shiny, shiny music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 5: San Francisco Symphony.\u003c/strong> Conductor \u003ca href=\"http://www.sfsymphony.org/About-Us/Michael-Tilson-Thomas\">Michael Tilson Thomas\u003c/a> won’t be here, replaced for this concert by \u003ca href=\"http://www.edwinoutwater.com/biography/\">Edwin Outwater\u003c/a>, the symphony’s Director of Summer Concerts. No matter: under Outwater’s direction, the \u003ca href=\"http://www.sfsymphony.org/\">San Francisco Symphony\u003c/a> is still a formidable entity. The orchestra will be joined by vocalist \u003ca href=\"http://www.mybrightestdiamond.com/bio/\">Shara Worden\u003c/a>, whose \u003ca href=\"http://www.mybrightestdiamond.com/videos/\">voice\u003c/a> carries far and wide in her stewardship of the group My Brightest Diamond.\u003c/p>\n\u003cp>\u003cstrong>July 12: Amy Hānaiali‘i with the Stern Grove Festival Orchestra and Halau ‘o Keikiali‘i\u003c/strong>. You wanted Hawaiian music? You have it with this day’s homage to the genre. \u003ca href=\"http://www.amyhanaialiigilliom.com/\">Hānaiali‘i\u003c/a>, the island state’s best-selling female vocalist, sings in the Hawaiian language, bringing its distinct vocalization to \u003ca href=\"https://www.youtube.com/watch?v=eUlWzurgptk\">songs\u003c/a> that, in other hands, can devolve into touristy kitsch. She’ll perform with an orchestra overseen by \u003ca href=\"http://www.mattcatingub.com/\">Matt Catingub\u003c/a>, who’s artistic director and founder of the Hawaii Pops in Honolulu. Opening is Halau ‘o Keikiali‘i, a Hawaiian group based in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10604880\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10604880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg\" alt=\"DakhaBrakha\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg 467w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DakhaBrakha \u003ccite>(By Olga Zakrevska)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 19\u003c/strong>: \u003cstrong>tUnE-yArDs and DakhaBrakha\u003c/strong>. “Wacky” is one way to describe \u003ca href=\"http://tune-yards.com/\">tune-yArDs\u003c/a>, an American group led by \u003ca href=\"https://twitter.com/tuneyards\">Merrill Garbus\u003c/a> that, on YouTube, gets millions of views with its theatrical songs like “\u003ca href=\"https://www.youtube.com/watch?v=YQ1LI-NTa2s\">Bizness\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=AwDEQWaSiEU\">Real Live Flesh\u003c/a>.” \u003ca href=\"http://www.dakhabrakha.com.ua/eng/BAND\">DakhaBrakha\u003c/a> is a Ukrainian quartet that on songs like “\u003ca href=\"https://www.youtube.com/watch?v=bJvbC1MREuQ\">Baby\u003c/a>” channels the spirit of cultures around the world, including America’s. The two groups’ songs occasionally intersect in memorable ways.\u003c/p>\n\u003cp>\u003cstrong>July 26: San Francisco Ballet\u003c/strong>. Two months after the \u003ca href=\"https://www.sfballet.org/\">San Francisco Ballet\u003c/a> completes its 2015 repertory season, it performs excerpts from the repertory \u003cem>en plein air\u003c/em> at Stern Grove.\u003c/p>\n\u003cp>\u003cstrong>August 2: Mary Chapin Carpenter and Bhi Bhiman\u003c/strong>. Country-ish singer Mary Chapin Carpenter — she of hits like “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">I Feel Lucky\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">Passionate Kisses\u003c/a>” — is twinned with \u003ca href=\"http://www.pledgemusic.com/artists/bhibhiman\">Bhi Bhiman\u003c/a>, who is grounded in American roots music that references his Sri Lankan roots, as in the song “\u003ca href=\"https://www.youtube.com/watch?v=_YP1lIEM1s4\">Guttersnipe\u003c/a>.” The pairing is yin and yang, with Carpenter’s slick sound a bookend to Bhiman’s more soulful expressions about life on the edge.\u003c/p>\n\u003cp>\u003cstrong>August 9: Morris Day & The Time and Con Brio\u003c/strong>. History will be kind to \u003ca href=\"http://en.wikipedia.org/wiki/Morris_Day\">Morris Day\u003c/a>, who first made a big name for himself with Prince in the 1984 movie \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Purple_Rain_%28film%29\">Purple Rain\u003c/a>\u003c/em>. Thirty years on, “\u003ca href=\"https://www.youtube.com/watch?v=919Gt1SczVY\">Jungle Love\u003c/a>” holds up as a raucous plea for love and physical contact. The Time, Day’s longtime group, cranks up the energy levels that Day feeds off of. \u003ca href=\"http://www.thebandconbrio.com/home/band/\">Con Brio\u003c/a> is in that same orbit, playing the kind of funk and soul that drives people into fits of delight.\u003c/p>\n\u003cfigure id=\"attachment_10605025\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10605025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg\" alt=\"Talib Kweli\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg 640w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Talib Kweli \u003ccite>(Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August 16: Talib Kweli and Zakiya Harris\u003c/strong>. \u003ca href=\"http://www.talibkweli.com/\">Talib Kweli\u003c/a> wants to change the world with his brand of hip-hop, exemplified by “\u003ca href=\"https://www.youtube.com/watch?v=UVtpXvzzXiA\">Get By\u003c/a>,” a smart and moving hit that references drug dealing, consumerism, Norman Mailer, John Lennon, the U.S. prison system, and scores of other names and subjects to comment on the state of the world. \u003ca href=\"http://www.zakiyaharris.com/\">Zakiya Harris\u003c/a> is also doing her best to change the world, through teaching, organizing, and, yes, \u003ca href=\"http://www.zakiyaharris.com/music/\">making music\u003c/a> that’s important to hear.\u003c/p>\n\u003cp>To emphasize the connection between art, audience, and the festival’s natural setting, Stern Grove organizers commissioned seven of this year’s performers – all from the Bay Area – to create works for a series called “Interplay: Artists in Concert With Nature.” The seven performers: California Honeydrops; Pacific Mambo Orchestra; Con Brio; Hot Club of San Francisco; Hālau o Keikiali’I; Bhi Bhiman; Zakiya Harris, featuring the group Elephantine. So each of these seven will do works never heard prior to their Stern Grove performance. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stern Grove Festival runs every Sunday from June 14 to August 16 at San Francisco’s Stern Grove, 19th Avenue and Sloat Boulevard. All concerts are free and start at 2pm. \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: D'Angelo and the Vanguard",
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"content": "\u003cp>Get your clicking finger ready: There’s going to be stiff competition for tickets when the reigning king of neo-soul finally makes it back to the Bay Area for the first time since 2000 (when he rocked the Paramount Theatre in front of\u003ca href=\"http://www.austinchronicle.com/music/2000-04-21/76918/\" target=\"_blank\" rel=\"noopener\"> an adoring, sold-out crowd\u003c/a> on two consecutive nights).\u003c/p>\n\u003cp>To be honest, we’re still feeling just a \u003cem>little\u003c/em> bit burned from his scheduled-and-missed appearance at Outside Lands in 2013, a set he \u003ca href=\"http://www.sfweekly.com/shookdown/2013/08/07/dangelo-cancels-outside-lands-set-nile-rodgers-and-chic-to-perform-instead\" target=\"_blank\" rel=\"noopener\">canceled due to illness\u003c/a>. On the other hand: He’ll be making it up to us not only with a set at this year’s festival, which runs Aug. 7 through 9, but with this newly announced\u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\"> stand-alone show\u003c/a> at the \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater in Oakland\u003c/a> on June 7, as part of his national tour (“The Second Coming,” a tour name very few others could get away with) for \u003cem>Black Messiah\u003c/em>.\u003c/p>\n\u003cp>Presale tickets go up for grabs Thursday, April 30 at 10am on the \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\">Fox’s website\u003c/a> with the password “rowell” (brownie points for anyone who can tell us why?). The general onsale starts Friday, May 1 at noon.\u003c/p>\n\u003cp>Though some of us may be biased about \u003cem>Black Messiah\u003c/em> (for example, those of us who listened to it at least two dozen times in the two weeks following its release), it’s among the most interesting albums of 2014 — not only for its decade-and-a-half-long incubation period, but for its funky, experimental, solidly challenging soup of politics, sex, and race relations, with sonic nods to Sly and the Family Stone, Prince, Jimi Hendrix, Marley Marl, and more.\u003c/p>\n\u003cp>And hey, if there were any doubt about D’Angelo’s ability to still deliver a mind-bending live performance, check out this recent set on \u003cem>Saturday Night Live\u003c/em>. We’re gonna go ahead and suggest this is worth the $49.50.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"D'Angelo, The Vanguard - Really Love (Live on SNL)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/CEph_2Qx-7Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Get your clicking finger ready: There’s going to be stiff competition for tickets when the reigning king of neo-soul finally makes it back to the Bay Area for the first time since 2000 (when he rocked the Paramount Theatre in front of\u003ca href=\"http://www.austinchronicle.com/music/2000-04-21/76918/\" target=\"_blank\" rel=\"noopener\"> an adoring, sold-out crowd\u003c/a> on two consecutive nights).\u003c/p>\n\u003cp>To be honest, we’re still feeling just a \u003cem>little\u003c/em> bit burned from his scheduled-and-missed appearance at Outside Lands in 2013, a set he \u003ca href=\"http://www.sfweekly.com/shookdown/2013/08/07/dangelo-cancels-outside-lands-set-nile-rodgers-and-chic-to-perform-instead\" target=\"_blank\" rel=\"noopener\">canceled due to illness\u003c/a>. On the other hand: He’ll be making it up to us not only with a set at this year’s festival, which runs Aug. 7 through 9, but with this newly announced\u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\"> stand-alone show\u003c/a> at the \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater in Oakland\u003c/a> on June 7, as part of his national tour (“The Second Coming,” a tour name very few others could get away with) for \u003cem>Black Messiah\u003c/em>.\u003c/p>\n\u003cp>Presale tickets go up for grabs Thursday, April 30 at 10am on the \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\">Fox’s website\u003c/a> with the password “rowell” (brownie points for anyone who can tell us why?). The general onsale starts Friday, May 1 at noon.\u003c/p>\n\u003cp>Though some of us may be biased about \u003cem>Black Messiah\u003c/em> (for example, those of us who listened to it at least two dozen times in the two weeks following its release), it’s among the most interesting albums of 2014 — not only for its decade-and-a-half-long incubation period, but for its funky, experimental, solidly challenging soup of politics, sex, and race relations, with sonic nods to Sly and the Family Stone, Prince, Jimi Hendrix, Marley Marl, and more.\u003c/p>\n\u003cp>And hey, if there were any doubt about D’Angelo’s ability to still deliver a mind-bending live performance, check out this recent set on \u003cem>Saturday Night Live\u003c/em>. We’re gonna go ahead and suggest this is worth the $49.50.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They say you can’t overestimate the power of a good handshake. If that’s the case, my job interview with Waka Flocka Flame was doomed from the start.\u003c/p>\n\u003cp>I went in for the sort of greeting I’m familiar with -– a clasp that pivots up into a grip and pulls in for a hug — but it unexpectedly continued. He raised our wrists to shoulder level, pointed his fingers out, locked them with mine … but by that point I was long since lost. He looked at me and smiled sympathetically. First impressions, I thought, resigned, are everything.\u003c/p>\n\u003cp>Months ago, I saw the VIP package deal for the New York City stop on Waka Flocka Flame’s current tour: $75 to get backstage, a photo and a personal resume review. Now I was spending a couple hours watching my prospective employer feed everyone competing for the position — scores of qualified candidates — into a blender of impossibly high expectations. He not only had each applicant’s resume read aloud to them, he made them demonstrate their skills on the spot, against the clock. He scrutinized each submission: Was it structured soundly? Was it pleasing to the eye? Was it functional, did it pack a punch? Most importantly: Could it get him and all his friends really high?\u003c/p>\n\u003cp>Waka Flocka Flame is hiring a professional blunt roller, and he is not f—ing around.\u003c/p>\n\u003cp>Flocka became one of the biggest rappers in the world in 2010 with the release of \u003cem>Flockaveli\u003c/em>, an album of monstrous, anthemic beats and endlessly-quotable lyrics. “I rap hook to hook,” \u003ca href=\"https://www.youtube.com/watch?v=7FHT82_HA9w\" target=\"_blank\" rel=\"noopener\">he said in 2012\u003c/a>. “If I don’t feel it, I can’t talk about it.” You could extend this sentiment to almost everything he does; he wants to connect person-to-person just as much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is why Flocka isn’t using a headhunter. He’s willing to review hundreds of resumes himself and eventually pay $50,000 a year to someone tasked with following him everywhere and producing the perfect blunt on command. The fans in the line that coiled through the basement of New York City’s Webster Hall hours before his sold-out show are there for the story, yes, but they also want a job that honors their particular expertise. Don’t we all?\u003c/p>\n\u003cp>Waka Flocka Flame has been trying to hire for the position since September, 2014. It was a year before that, when he was on the road in Europe for six months, that he realized he needed professional assistance. “How polished is it if you wake up in the morning, you’ve got like five rolled, with breakfast right there?” he asks me. “I can’t see nothing more beautiful except waking up next to your wife and your daughter.” The job, as he imagines it, will require travel and flexibility. “I don’t smoke a lot no more every day,” he said, three joints splayed out before him. “I might not smoke a blunt for two days, three days. But then one day you might run through 100 blunts. You might end up rolling up a quarter pound. I’m talking about finger cramps.”\u003c/p>\n\u003cp>A demanding gig, no doubt. But worth it if you consider the spoils. The salary, the free weed and the prestige of having out-twisted the competition to be America’s foremost weed craftsman aside, let’s say you’re one of these humble stoners. Years of smoking under your belt. Deceptions on deceptions on deceptions, plus some white lies, hiding your habit from your family, your employer, society. And all the while, alone and in private gatherings with friends or at concerts, you hone your craft. And now, thanks to an enterprising rapper, champion of your cause, you might emerge from the shadows. Validation.\u003c/p>\n\u003cp>But in the end, it’s all about the blunt. In its platonic form it’s as long and wide as a man’s middle finger, but conical and smooth. Tightly packed and sturdy enough to bounce when thrown on a table without splitting and spilling its guts. This skill, galvanized in the pressure cooker of illicit fetish, is what Flocka is looking for. “Everybody thinks I’m playing,” he told me between applicants. “But I’m so serious.”\u003c/p>\n\u003cfigure id=\"attachment_10605893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg\" alt=\"Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10605893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>If there ever were a time to find this talent, it was that night: 4/20, the pothead’s Christmas. Maybe they were in that very room. After some \u003ca href=\"http://www.rollingstone.com/music/videos/waka-flocka-flame-for-president-watch-his-exclusive-campaign-video-20150420\" target=\"_blank\" rel=\"noopener\">very presidential\u003c/a> grip-and-grabs, Flocka, along with his two openers, Azizi Gibson and Ben G, took his place behind a desk to find out.\u003c/p>\n\u003cp>They sit three across like \u003cem>American Idol\u003c/em> judges to receive their first applicant, a skinny kid named Cody Watson. He came prepared. With a gold watch on his wrist, he opens a three-ring binder to begin a business school pitch comp-level presentation. First, the products. He presents three breeds: “studio,” “squad,” and “stage,” fine-tuned in weight, mixture and roll to suit each circumstance. It’s as close as you can get to “try-before-you-buy” without actually toking up. He displays some certification he got in California. The judges are impressed and take his number down.\u003c/p>\n\u003cp>The next guy is less concerned with politesse. He didn’t bring a resume, but he isn’t empty-handed. He whips out rolling papers and a bag of weed and starts rolling. The idea might be ballsy, but he’s not. His hands are shaking, sweat filming his forehead. Flocka imagines a scenario to put him in the pressure cooker. “There’s a $10 million deal on the line,” he says. “Can you perform?” How the blunt helps in that scenario is unclear, but irrelevant: the kid is quivering so badly that ground up weed is spilling on the interview desk. He finally wraps up a conical joint, with the clock ticking to zero. Flocka examines it. “It’s a little lumpy,” he says, dismissing him. “We’re gonna call you ‘Shakes.’ ”\u003c/p>\n\u003cp>Next up is JP. He’s only got one tape on his phone, Flocka’s new mixtape, \u003cem>Salute Me or Shoot Me V\u003c/em>. He whips out a pathetically small joint. “This guy won’t get his left ear high,” Ben G scoffs, signaling the hook.\u003c/p>\n\u003cp>Candidates file in quickly and are dispatched just as fast. One shows up without weed, even though he claims he’s been rolling since he was 10. He’s denied, but hands Flocka a free pair of Capri-cut sweatpants, which may have been his original intent, before walking out. The next, in skintight weed leaf jeans, offers a tiny blunt, which is derisively deemed a “mosquito head” and swiftly rejected.\u003c/p>\n\u003cp>Another guy named Cody shows up. He is empty-handed.\u003c/p>\n\u003cp>“I don’t really roll blunts, but I can learn,” he Hail Marys.\u003c/p>\n\u003cp>He gets a long stare.\u003c/p>\n\u003cp>“You like playing Xbox?” Waka Flocka asks.\u003c/p>\n\u003cp>“Um, yeah, I play …”\u003c/p>\n\u003cp>“Play Xbox, don’t play me.”\u003c/p>\n\u003cp>His look of bafflement irritates Waka. He’s been very clear. This is not a joke. “Can you handle drinking every night? Smoking blunts? If you wake up hungover, you’re fired!”\u003c/p>\n\u003cp>Another candidate claims she was frisked at the door. “If you can’t smuggle dope into the building, how will you conceal it from the police?” Amateurs.\u003c/p>\n\u003cp>Now he has getting pulled over on his mind. “We’re all on the bus, we’ve got three ounces of weed. What do we do?” Flocka grills Nikita and Scott, artisans who made it to a second round of questioning. “Throw it out the window?” Nikita offers. Flocka covers his face. “Not the best answer.”\u003c/p>\n\u003cp>The line dwindles as Flocka cheerfully obliges pictures and handshakes from those not interviewing, autographs paraphernalia and vetoes joints extracted from socks and bras. An older Irish woman asks him to sign some posters. A Cameroonian man blesses him with a shaman’s stick and passes forward a travel guide to his country. Flocka must be five joints deep now, but he’s still kissing babies, as it were.\u003c/p>\n\u003cp>The room finally clears, there’s just one applicant left.\u003c/p>\n\u003cp>Me.\u003c/p>\n\u003cp>Having watched Waka Flocka Flame’s rigorous gauntlet leave only a few standing, I don’t like my chances. I’ve got sweaty palms. Most of my experience with weed is secondhand. Worse, I’ve never rolled a blunt before. What am I doing here?\u003c/p>\n\u003cp>Flocka looks at me. “We’ve got a resume,” he calls to Azizi and Ben G. The panel recites my cover letter. “You were the first person to bring a recommendation letter,” Flocka says. “But you’re not the first person to show up without a blunt. All of this has nothing to do with rolling marijuana.” “So that’s a no?” I ask, as if I didn’t know the answer. “I think you’re overqualified for the position,” he notifies me, kindly. Another rejection on the road to perfection.\u003c/p>\n\u003cp>Flocka took the stage as I drowned my disappointment in a beer. The audience broke into a moshpit almost immediately. Bras flew onstage. His bouncers were throwing water bottles to the throng, and he made it three — maybe four — songs into his set before diving in with the crowd. On the balcony fans squeeze against the banister, and I watch through their phone screens as Flocka bounds into the pit in front of the stage and throws his body onto his people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He’s there with a blunt in his mouth as they lift him up, higher and higher, over the barrier. He’s there, in the crowd now, tossed through strangers that turn to him like iron filings to a magnet. He’s there, among his people, closer to them than to the show itself. They look to him, and he looks back. \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=Waka+Flocka+Flame+Is+Hiring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is why Flocka isn’t using a headhunter. He’s willing to review hundreds of resumes himself and eventually pay $50,000 a year to someone tasked with following him everywhere and producing the perfect blunt on command. The fans in the line that coiled through the basement of New York City’s Webster Hall hours before his sold-out show are there for the story, yes, but they also want a job that honors their particular expertise. Don’t we all?\u003c/p>\n\u003cp>Waka Flocka Flame has been trying to hire for the position since September, 2014. It was a year before that, when he was on the road in Europe for six months, that he realized he needed professional assistance. “How polished is it if you wake up in the morning, you’ve got like five rolled, with breakfast right there?” he asks me. “I can’t see nothing more beautiful except waking up next to your wife and your daughter.” The job, as he imagines it, will require travel and flexibility. “I don’t smoke a lot no more every day,” he said, three joints splayed out before him. “I might not smoke a blunt for two days, three days. But then one day you might run through 100 blunts. You might end up rolling up a quarter pound. I’m talking about finger cramps.”\u003c/p>\n\u003cp>A demanding gig, no doubt. But worth it if you consider the spoils. The salary, the free weed and the prestige of having out-twisted the competition to be America’s foremost weed craftsman aside, let’s say you’re one of these humble stoners. Years of smoking under your belt. Deceptions on deceptions on deceptions, plus some white lies, hiding your habit from your family, your employer, society. And all the while, alone and in private gatherings with friends or at concerts, you hone your craft. And now, thanks to an enterprising rapper, champion of your cause, you might emerge from the shadows. Validation.\u003c/p>\n\u003cp>But in the end, it’s all about the blunt. In its platonic form it’s as long and wide as a man’s middle finger, but conical and smooth. Tightly packed and sturdy enough to bounce when thrown on a table without splitting and spilling its guts. This skill, galvanized in the pressure cooker of illicit fetish, is what Flocka is looking for. “Everybody thinks I’m playing,” he told me between applicants. “But I’m so serious.”\u003c/p>\n\u003cfigure id=\"attachment_10605893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg\" alt=\"Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10605893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>If there ever were a time to find this talent, it was that night: 4/20, the pothead’s Christmas. Maybe they were in that very room. After some \u003ca href=\"http://www.rollingstone.com/music/videos/waka-flocka-flame-for-president-watch-his-exclusive-campaign-video-20150420\" target=\"_blank\" rel=\"noopener\">very presidential\u003c/a> grip-and-grabs, Flocka, along with his two openers, Azizi Gibson and Ben G, took his place behind a desk to find out.\u003c/p>\n\u003cp>They sit three across like \u003cem>American Idol\u003c/em> judges to receive their first applicant, a skinny kid named Cody Watson. He came prepared. With a gold watch on his wrist, he opens a three-ring binder to begin a business school pitch comp-level presentation. First, the products. He presents three breeds: “studio,” “squad,” and “stage,” fine-tuned in weight, mixture and roll to suit each circumstance. It’s as close as you can get to “try-before-you-buy” without actually toking up. He displays some certification he got in California. The judges are impressed and take his number down.\u003c/p>\n\u003cp>The next guy is less concerned with politesse. He didn’t bring a resume, but he isn’t empty-handed. He whips out rolling papers and a bag of weed and starts rolling. The idea might be ballsy, but he’s not. His hands are shaking, sweat filming his forehead. Flocka imagines a scenario to put him in the pressure cooker. “There’s a $10 million deal on the line,” he says. “Can you perform?” How the blunt helps in that scenario is unclear, but irrelevant: the kid is quivering so badly that ground up weed is spilling on the interview desk. He finally wraps up a conical joint, with the clock ticking to zero. Flocka examines it. “It’s a little lumpy,” he says, dismissing him. “We’re gonna call you ‘Shakes.’ ”\u003c/p>\n\u003cp>Next up is JP. He’s only got one tape on his phone, Flocka’s new mixtape, \u003cem>Salute Me or Shoot Me V\u003c/em>. He whips out a pathetically small joint. “This guy won’t get his left ear high,” Ben G scoffs, signaling the hook.\u003c/p>\n\u003cp>Candidates file in quickly and are dispatched just as fast. One shows up without weed, even though he claims he’s been rolling since he was 10. He’s denied, but hands Flocka a free pair of Capri-cut sweatpants, which may have been his original intent, before walking out. The next, in skintight weed leaf jeans, offers a tiny blunt, which is derisively deemed a “mosquito head” and swiftly rejected.\u003c/p>\n\u003cp>Another guy named Cody shows up. He is empty-handed.\u003c/p>\n\u003cp>“I don’t really roll blunts, but I can learn,” he Hail Marys.\u003c/p>\n\u003cp>He gets a long stare.\u003c/p>\n\u003cp>“You like playing Xbox?” Waka Flocka asks.\u003c/p>\n\u003cp>“Um, yeah, I play …”\u003c/p>\n\u003cp>“Play Xbox, don’t play me.”\u003c/p>\n\u003cp>His look of bafflement irritates Waka. He’s been very clear. This is not a joke. “Can you handle drinking every night? Smoking blunts? If you wake up hungover, you’re fired!”\u003c/p>\n\u003cp>Another candidate claims she was frisked at the door. “If you can’t smuggle dope into the building, how will you conceal it from the police?” Amateurs.\u003c/p>\n\u003cp>Now he has getting pulled over on his mind. “We’re all on the bus, we’ve got three ounces of weed. What do we do?” Flocka grills Nikita and Scott, artisans who made it to a second round of questioning. “Throw it out the window?” Nikita offers. Flocka covers his face. “Not the best answer.”\u003c/p>\n\u003cp>The line dwindles as Flocka cheerfully obliges pictures and handshakes from those not interviewing, autographs paraphernalia and vetoes joints extracted from socks and bras. An older Irish woman asks him to sign some posters. A Cameroonian man blesses him with a shaman’s stick and passes forward a travel guide to his country. Flocka must be five joints deep now, but he’s still kissing babies, as it were.\u003c/p>\n\u003cp>The room finally clears, there’s just one applicant left.\u003c/p>\n\u003cp>Me.\u003c/p>\n\u003cp>Having watched Waka Flocka Flame’s rigorous gauntlet leave only a few standing, I don’t like my chances. I’ve got sweaty palms. Most of my experience with weed is secondhand. Worse, I’ve never rolled a blunt before. What am I doing here?\u003c/p>\n\u003cp>Flocka looks at me. “We’ve got a resume,” he calls to Azizi and Ben G. The panel recites my cover letter. “You were the first person to bring a recommendation letter,” Flocka says. “But you’re not the first person to show up without a blunt. All of this has nothing to do with rolling marijuana.” “So that’s a no?” I ask, as if I didn’t know the answer. “I think you’re overqualified for the position,” he notifies me, kindly. Another rejection on the road to perfection.\u003c/p>\n\u003cp>Flocka took the stage as I drowned my disappointment in a beer. The audience broke into a moshpit almost immediately. Bras flew onstage. His bouncers were throwing water bottles to the throng, and he made it three — maybe four — songs into his set before diving in with the crowd. On the balcony fans squeeze against the banister, and I watch through their phone screens as Flocka bounds into the pit in front of the stage and throws his body onto his people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s there with a blunt in his mouth as they lift him up, higher and higher, over the barrier. He’s there, in the crowd now, tossed through strangers that turn to him like iron filings to a magnet. He’s there, among his people, closer to them than to the show itself. They look to him, and he looks back. \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=Waka+Flocka+Flame+Is+Hiring&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/matt-kim/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>WATERS\u003c/h2>\n\u003cdiv class=\"event-desc\">Bay Area quintet open for Matt & Kim.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Warfield\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matt-kim/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Early this April, the Bay Area rock band WATERS made their \u003ca href=\"https://www.youtube.com/watch?v=7yPkPg-4dRo\">late-night TV debut on \u003cem>Conan\u003c/em>\u003c/a>, ripping through “Got To My Head,” the lead single from their new album \u003cem>What’s Real\u003c/em>.\u003c/p>\n\u003cp>On a stage set with bouquets of flowers evoking both the album’s cover art and Nirvana’s famous flower-filled MTV performance, front man Van Pierszalowski bounced on his feet as if the stage were on fire, his blond hair spinning around his head like helicopter blades. The rest of the band matched his fervent energy, pounding drums and howling backup vocals like it was their last gig ever.\u003c/p>\n\u003cp>Although WATERS doesn’t possess the nuance of more finicky groups like the Arcade Fire, opting instead for gargantuan hooks and chunky riffs, their performance revealed a similar urgency. Like most of \u003cem>What’s Real\u003c/em>, “Got To My Head” is gloriously simplistic, three minutes of utilitarian, anthemic rock ‘n’ roll. But even with the sweet flowers, O’Brien’s giddy congratulations and the beaming backup singers, you could tell that not everything was as it seemed: the song was still desperately sad.\u003c/p>\n\u003cp>Pierszalowski first gained attention in the second half of the aughts as the co-frontman of the mellow, often acoustic group \u003ca href=\"https://www.youtube.com/watch?v=FmfjDK6Nj6s\">Port O’Brien\u003c/a>. Although many of those songs felt restrained, they hinted at a grandeur to come. The group dissolved in 2011, and soon after, Pierszalowski wrote what became WATERS’ debut, \u003cem>Out in the Light\u003c/em>, while living in Oslo and “romancing a particular girl.”\u003c/p>\n\u003cp>The album, produced by John Congleton (St. Vincent, Brian Wilson, Earl Sweatshirt) in Dallas, was far grittier than Port O’Brien; his voice and guitar were distorted and scratchy, and the songs \u003cem>felt\u003c/em> like the blues even if they didn’t sound like it. As Pierszalowski explains to me in a recent phone interview, “I wanted to make it really raw, loud, [full of Nirvana’s] \u003cem>In Utero \u003c/em>drum sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While on the road in support of \u003cem>Out in the Light\u003c/em>, Pierszalowski says he heard a lot of what he calls “alt-rock” on the radio. He wasn’t impressed by the bulk of the subject material: dancing, partying, hanging out with friends. “For me, that kind of stuff is cool,” Pierszalowski says, “but that’s what pop radio is for.” Rock and roll, he continues, “is not about that, it’s about having an escape, real and meaningful.” So Pierszalowski set about writing songs that celebrated the same sensibilities of his rock heroes, bands like Weezer and Green Day, but tackled much tougher subject material: heartbreak, anger and fear.\u003c/p>\n\u003cp>The result is \u003cem>What’s Real\u003c/em>. Although over the course of its 11 songs Pierszalowski and the band stuff huge hooks and riffs anywhere they can, these big catchy moments only provide a foil for Pierszalowski’s bitterness and anger. The feelings are blunt, deadpan, the sound of “trying to not be too cool at all,” Pierszalowski says. On “I Feel Everything,” the band shows their cards upfront, opening with a colossal wordless pre-chorus before Pierszalowski echoes Kurt Cobain’s menacing refrain on “Come As You Are”: “You found my brother’s gun / I think it’s more fun like that.”\u003c/p>\n\u003cp>Later, “Stupid Games” sparkles with chipper synthesizers and a snappy B-52s groove, but quickly reveals a manipulative and resentful narrator: “I walk away with another / Yeah, I’ll cop a feel but I’m tired of these,” Pierszalowski snarls. On the album’s cover, an immaculate bouquet of photos sits in the center, a picture of serenity. You don’t have to look too hard, however, to notice that it’s on fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>WATERS is currently touring the U.S. with the hook-driven duo Matt & Kim; both groups bring their fist-pumping anthems to the Warfield on May 2. And even though only three members of WATERS still live in the Bay Area, they are still, at heart, a San Francisco band. And while they’ll inevitably bring all of the excitement and energy that hometown shows provide, don’t forget that something else lurks under the surface — WATERS’ music is more than just a party. It’s an escape.\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/matt-kim/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>WATERS\u003c/h2>\n\u003cdiv class=\"event-desc\">Bay Area quintet open for Matt & Kim.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Warfield\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matt-kim/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Early this April, the Bay Area rock band WATERS made their \u003ca href=\"https://www.youtube.com/watch?v=7yPkPg-4dRo\">late-night TV debut on \u003cem>Conan\u003c/em>\u003c/a>, ripping through “Got To My Head,” the lead single from their new album \u003cem>What’s Real\u003c/em>.\u003c/p>\n\u003cp>On a stage set with bouquets of flowers evoking both the album’s cover art and Nirvana’s famous flower-filled MTV performance, front man Van Pierszalowski bounced on his feet as if the stage were on fire, his blond hair spinning around his head like helicopter blades. The rest of the band matched his fervent energy, pounding drums and howling backup vocals like it was their last gig ever.\u003c/p>\n\u003cp>Although WATERS doesn’t possess the nuance of more finicky groups like the Arcade Fire, opting instead for gargantuan hooks and chunky riffs, their performance revealed a similar urgency. Like most of \u003cem>What’s Real\u003c/em>, “Got To My Head” is gloriously simplistic, three minutes of utilitarian, anthemic rock ‘n’ roll. But even with the sweet flowers, O’Brien’s giddy congratulations and the beaming backup singers, you could tell that not everything was as it seemed: the song was still desperately sad.\u003c/p>\n\u003cp>Pierszalowski first gained attention in the second half of the aughts as the co-frontman of the mellow, often acoustic group \u003ca href=\"https://www.youtube.com/watch?v=FmfjDK6Nj6s\">Port O’Brien\u003c/a>. Although many of those songs felt restrained, they hinted at a grandeur to come. The group dissolved in 2011, and soon after, Pierszalowski wrote what became WATERS’ debut, \u003cem>Out in the Light\u003c/em>, while living in Oslo and “romancing a particular girl.”\u003c/p>\n\u003cp>The album, produced by John Congleton (St. Vincent, Brian Wilson, Earl Sweatshirt) in Dallas, was far grittier than Port O’Brien; his voice and guitar were distorted and scratchy, and the songs \u003cem>felt\u003c/em> like the blues even if they didn’t sound like it. As Pierszalowski explains to me in a recent phone interview, “I wanted to make it really raw, loud, [full of Nirvana’s] \u003cem>In Utero \u003c/em>drum sounds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While on the road in support of \u003cem>Out in the Light\u003c/em>, Pierszalowski says he heard a lot of what he calls “alt-rock” on the radio. He wasn’t impressed by the bulk of the subject material: dancing, partying, hanging out with friends. “For me, that kind of stuff is cool,” Pierszalowski says, “but that’s what pop radio is for.” Rock and roll, he continues, “is not about that, it’s about having an escape, real and meaningful.” So Pierszalowski set about writing songs that celebrated the same sensibilities of his rock heroes, bands like Weezer and Green Day, but tackled much tougher subject material: heartbreak, anger and fear.\u003c/p>\n\u003cp>The result is \u003cem>What’s Real\u003c/em>. Although over the course of its 11 songs Pierszalowski and the band stuff huge hooks and riffs anywhere they can, these big catchy moments only provide a foil for Pierszalowski’s bitterness and anger. The feelings are blunt, deadpan, the sound of “trying to not be too cool at all,” Pierszalowski says. On “I Feel Everything,” the band shows their cards upfront, opening with a colossal wordless pre-chorus before Pierszalowski echoes Kurt Cobain’s menacing refrain on “Come As You Are”: “You found my brother’s gun / I think it’s more fun like that.”\u003c/p>\n\u003cp>Later, “Stupid Games” sparkles with chipper synthesizers and a snappy B-52s groove, but quickly reveals a manipulative and resentful narrator: “I walk away with another / Yeah, I’ll cop a feel but I’m tired of these,” Pierszalowski snarls. On the album’s cover, an immaculate bouquet of photos sits in the center, a picture of serenity. You don’t have to look too hard, however, to notice that it’s on fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>WATERS is currently touring the U.S. with the hook-driven duo Matt & Kim; both groups bring their fist-pumping anthems to the Warfield on May 2. And even though only three members of WATERS still live in the Bay Area, they are still, at heart, a San Francisco band. And while they’ll inevitably bring all of the excitement and energy that hometown shows provide, don’t forget that something else lurks under the surface — WATERS’ music is more than just a party. It’s an escape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s no secret that Oakland R&B goddess \u003ca href=\"http://www.kehlanimusic.com/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> has been on a swift ascendance lately, especially after the pure heat of last year’s \u003ca href=\"http://www.datpiff.com/Kehlani-Cloud-19-mixtape.642820.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Cloud 19\u003c/em> mixtape\u003c/a>. Her new album \u003cem>You Should Be Here\u003c/em> \u003cstrike>comes out this week\u003c/strike> \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">is out now\u003c/a>, and as a teaser she posted up the album’s first single: “\u003ca href=\"https://www.youtube.com/watch?v=V5kqg-9JMxw\" target=\"_blank\" rel=\"noopener\">The Way\u003c/a>,” featuring none other than Chance the Rapper.\u003c/p>\n\u003cp>Now, the entire album is streaming via Soundcloud. Hear it below, and \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">pick it up here\u003c/a>.\u003c/p>\n\u003cp>“I’m honestly so happy I could cry,” Kehlani \u003ca href=\"https://twitter.com/kehlanimusic/status/592891800823672833\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> at the time of the album’s release. “I worked really hard on this and showed a whole new side of myself. I hope you all enjoy it.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/102407656″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no secret that Oakland R&B goddess \u003ca href=\"http://www.kehlanimusic.com/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> has been on a swift ascendance lately, especially after the pure heat of last year’s \u003ca href=\"http://www.datpiff.com/Kehlani-Cloud-19-mixtape.642820.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Cloud 19\u003c/em> mixtape\u003c/a>. Her new album \u003cem>You Should Be Here\u003c/em> \u003cstrike>comes out this week\u003c/strike> \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">is out now\u003c/a>, and as a teaser she posted up the album’s first single: “\u003ca href=\"https://www.youtube.com/watch?v=V5kqg-9JMxw\" target=\"_blank\" rel=\"noopener\">The Way\u003c/a>,” featuring none other than Chance the Rapper.\u003c/p>\n\u003cp>Now, the entire album is streaming via Soundcloud. Hear it below, and \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">pick it up here\u003c/a>.\u003c/p>\n\u003cp>“I’m honestly so happy I could cry,” Kehlani \u003ca href=\"https://twitter.com/kehlanimusic/status/592891800823672833\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> at the time of the album’s release. “I worked really hard on this and showed a whole new side of myself. I hope you all enjoy it.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/102407656″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/playlists/102407656″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco singer, composer and organizer \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> just released her video for “Kemekem (I Like Your Afro),” and it’s really got everything: a great song, a lustful pursuit, a startup office environment, an abundance of beautiful afros, a smooth-as-butter courtship and a well-placed Post-It note.\u003c/p>\n\u003cp>Director \u003ca href=\"http://www.wearescandinavia.com/director/pete-lee/\" target=\"_blank\" rel=\"noopener\">Pete Lee\u003c/a> says that when the song was explained to him — “the lyrics were about this romance on the down-low, very taboo, and nobody else in the village could ever know the two were in love,” he tells me — he knew he had to update it to the Bay Area in the 21st Century for the video. “And inter-office romance,” Lee notes, “is one of the last bastions of forbidden romances.”\u003c/p>\n\u003cfigure id=\"attachment_10587330\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ziek1.jpg\" alt='Shawnrey Notto and Ziek McCarter in \"Kemekem.\"' width=\"640\" height=\"377\" class=\"size-full wp-image-10587330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1-400x236.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shawnrey Notto and Ziek McCarter in “Kemekem.”\u003c/figcaption>\u003c/figure>\n\u003cp>Enter the Oakland startup Monsoon, located amidst a former bank vault right off Frank Ogawa Plaza in downtown Oakland, where “Kemekem” was shot. “We were looking for ugly old-style cubicles, but those don’t seem to exist anymore in the Bay Area,” Lee says. “Everywhere just has yoga balls and stuff.”\u003c/p>\n\u003cp>As for the couple in the plot, the slow-burning choreography comes courtesy of Shawnrey Notto — the fairer half of the pair — and locals might recognize the gentleman caller as none other than Con Brio’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a>. As for Meklit herself, “I truly think it’s the best thing I’ve ever done,” she says.\u003c/p>\n\u003cp>And what about that Post-It? Was it an accident that stayed in the final cut? Not so, says Lee. “It actually took a while to get the Post-It perfect in her hair!” he laughs. “They don’t make Post-Its as sticky as they used to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meklit’s new album, \u003cem>We Are Alive\u003c/em>, was \u003ca href=\"http://www.sixdegreesrecords.com/meklit-we-are-alive/\" target=\"_blank\" rel=\"noopener\">released just last month\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco singer, composer and organizer \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> just released her video for “Kemekem (I Like Your Afro),” and it’s really got everything: a great song, a lustful pursuit, a startup office environment, an abundance of beautiful afros, a smooth-as-butter courtship and a well-placed Post-It note.\u003c/p>\n\u003cp>Director \u003ca href=\"http://www.wearescandinavia.com/director/pete-lee/\" target=\"_blank\" rel=\"noopener\">Pete Lee\u003c/a> says that when the song was explained to him — “the lyrics were about this romance on the down-low, very taboo, and nobody else in the village could ever know the two were in love,” he tells me — he knew he had to update it to the Bay Area in the 21st Century for the video. “And inter-office romance,” Lee notes, “is one of the last bastions of forbidden romances.”\u003c/p>\n\u003cfigure id=\"attachment_10587330\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ziek1.jpg\" alt='Shawnrey Notto and Ziek McCarter in \"Kemekem.\"' width=\"640\" height=\"377\" class=\"size-full wp-image-10587330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1-400x236.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shawnrey Notto and Ziek McCarter in “Kemekem.”\u003c/figcaption>\u003c/figure>\n\u003cp>Enter the Oakland startup Monsoon, located amidst a former bank vault right off Frank Ogawa Plaza in downtown Oakland, where “Kemekem” was shot. “We were looking for ugly old-style cubicles, but those don’t seem to exist anymore in the Bay Area,” Lee says. “Everywhere just has yoga balls and stuff.”\u003c/p>\n\u003cp>As for the couple in the plot, the slow-burning choreography comes courtesy of Shawnrey Notto — the fairer half of the pair — and locals might recognize the gentleman caller as none other than Con Brio’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a>. As for Meklit herself, “I truly think it’s the best thing I’ve ever done,” she says.\u003c/p>\n\u003cp>And what about that Post-It? Was it an accident that stayed in the final cut? Not so, says Lee. “It actually took a while to get the Post-It perfect in her hair!” he laughs. “They don’t make Post-Its as sticky as they used to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meklit’s new album, \u003cem>We Are Alive\u003c/em>, was \u003ca href=\"http://www.sixdegreesrecords.com/meklit-we-are-alive/\" target=\"_blank\" rel=\"noopener\">released just last month\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Bruno Ruviaro, Composer of Other Kinds of Harmonies",
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"content": "\u003cp>We often hear about those defining moments in a person’s life that guide them into what they should be doing. For me, growing up as a young boy in a suburb of St. Louis taught me to listen deeply. I recall so vividly the thunderstorms rolling through those midwestern nights, and how I would often fight off sleep just to lay there in the dark and experience the crackles and booms. Perhaps moving to California in my youth where thunderstorms are the exception, not the norm, led to my passion and discovery of things like field recording, sound art, electronic and experimental music — and composers like Bruno Ruviaro.\u003c/p>\n\u003cp>Ruviaro was born in São Paulo, Brazil, and currently lives and teaches in the Bay Area. His first lessons in music began at the age of 13. Now 38, he recalls wanting to play the piano at an early age.\u003c/p>\n\u003cp>“I remember there was one distant relative that had a piano,” he says. “You know, the furniture piano nobody played? We would only go to his house occasionally and I was always fascinated by that thing in the living room. And for some reason they never really invited me to sit down and make some noise or whatever. Once I was able to say, ‘Can I touch it?’ And then they opened it. There was something about the smell, the looks, the whole thing. And I went over to it and I remember the first thing I figured out how to play was because I had seen an episode of Woody Woodpecker. It was like a wild west cartoon. There was a bank robber trying to escape by hiding inside a piano in the saloon. The bank robber from inside the piano says to Woody, ‘You don’t tell anyone or else!’ And then with the end of the gun he plays…” [Ruviaro walks over to a piano sitting beside me and plays the notes from his childhood memory. He comes to learn it was Chopin’s “Funeral March.”]\u003c/p>\n\u003cp>\u003cstrong>[soundcloud url=”https://api.soundcloud.com/tracks/201648617″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/strong>\u003c/p>\n\u003cp>Despite his inclination to play the piano, Ruviaro’s first two years of music lessons were on the organ. “The methods they used at the time for organ contained a mix of classical and popular music. It was a little unusual,” he said. “In the same book you would have some arrangements of Beethoven pieces and then some arrangements of Beetles pieces. It was a really crazy mix. And because it was organ, they didn’t make piano-like arrangements, they made arrangements where you had the melody, and then the chords on the left hand. Pretty much how a guitar player would read music. So from the beginning I actually learned how to read chords like a popular musician would learn. I think that stayed with me. That was a very valuable thing. When I moved to piano there was no turning back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After finishing his Undergrad studies in Brazil, Ruviaro worked for two years with a theater company in São Paulo. “It was a really amazing experience,” he said. “I was just making the music for their plays. I would not only compose the music, but I was also there every night. It was mostly pre-recorded, someone else could do it, but I wanted to be there because it was so much mixing and sound balancing and hitting the right cue at the right time. So I was in a way playing the music, not like a pianist, but delivering the music together with the play.”\u003c/p>\n\u003cp>Ruviaro moved to the U.S. to continue his studies in electronic music in 2002. From 2002–2004 he worked toward a master of arts in electroacoustic music at \u003ca title=\"Dartmouth\" href=\"http://music.dartmouth.edu/graduate/people\" target=\"_blank\" rel=\"noopener\">Dartmouth\u003c/a>. After Dartmouth, Ruviaro headed west. From 2004–2010 he attended \u003ca title=\"Stanford University\" href=\"https://music.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> where he continued to study electronic music in parallel with acoustic music composition. He earned his doctorate from Stanford in 2010 and then taught at the renowned \u003ca title=\"CCRMA\" href=\"https://ccrma.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> (CCRMA) for two years.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/192181431″]\u003c/p>\n\u003cp>He accepted a teaching position at \u003ca title=\"Santa Clara University\" href=\"https://www.scu.edu/profiles/?p=5186\" target=\"_blank\" rel=\"noopener\">Santa Clara University\u003c/a> in 2012, where Ruviaro now heads up the electronic music department. “One of the things I liked when I came to visit for the interview was that this department was already very much in syntony with new music, experimental music and trying to be innovative or find interesting ways to teach music — even at a more basic level,” he said.\u003c/p>\n\u003cp>SCU already had the New Music Festival happening every so many years, but they didn’t have much in the way of electronic music. Ruviaro was hired to implement an electronic music program. One of the first things he launched was Santa Clara University’s Laptop Orchestra, affectionately known as \u003ca title=\"SCLOrk\" href=\"http://cms.scu.edu/cas/music/news/index.cfm?b=644&c=20241\" target=\"_blank\" rel=\"noopener\">SCLOrk\u003c/a>. Ruviaro describes it as the main project; now, the music department has three or four electronic classes built into its program.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Lts9vEBCDQ8?rel=0]\u003c/p>\n\u003cp>Staying true to his experience at Dartmouth and Stanford, where students are given freedom to direct their course of study within an incredible support system, Ruviaro tells me, “You never know what people are going to come up with as long as you give them the tools, some basic knowledge to get started and the ability to learn more independently.”\u003c/p>\n\u003cp>Of course, we live in a world where attention spans are short-lived, and popular culture tends to rule the day. I ask Ruviaro how he approaches the challenge of creating in this environment.\u003c/p>\n\u003cp>“The thing that I do is often not based on a strict beat — it just requires a different kind of listening,” shares Ruviaro. “I always try to ask people in a concert to just have your ears open for different states of mind and different types of listening. Don’t frustrate yourselves trying to find a melody or a harmony. Just listen to the sounds and enjoy the flow, the sequences, the other kinds of harmonies that may show up. In that sense, it may be a little more demanding.”\u003c/p>\n\u003cp>But with greater demands often comes greater rewards.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A selection of Bruno Ruviaro’s scores, recordings, and texts can be found at \u003ca title=\"Bruno Ruviaro\" href=\"http://www.brunoruviaro.com\" target=\"_blank\" rel=\"noopener\">www.brunoruviaro.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We often hear about those defining moments in a person’s life that guide them into what they should be doing. For me, growing up as a young boy in a suburb of St. Louis taught me to listen deeply. I recall so vividly the thunderstorms rolling through those midwestern nights, and how I would often fight off sleep just to lay there in the dark and experience the crackles and booms. Perhaps moving to California in my youth where thunderstorms are the exception, not the norm, led to my passion and discovery of things like field recording, sound art, electronic and experimental music — and composers like Bruno Ruviaro.\u003c/p>\n\u003cp>Ruviaro was born in São Paulo, Brazil, and currently lives and teaches in the Bay Area. His first lessons in music began at the age of 13. Now 38, he recalls wanting to play the piano at an early age.\u003c/p>\n\u003cp>“I remember there was one distant relative that had a piano,” he says. “You know, the furniture piano nobody played? We would only go to his house occasionally and I was always fascinated by that thing in the living room. And for some reason they never really invited me to sit down and make some noise or whatever. Once I was able to say, ‘Can I touch it?’ And then they opened it. There was something about the smell, the looks, the whole thing. And I went over to it and I remember the first thing I figured out how to play was because I had seen an episode of Woody Woodpecker. It was like a wild west cartoon. There was a bank robber trying to escape by hiding inside a piano in the saloon. The bank robber from inside the piano says to Woody, ‘You don’t tell anyone or else!’ And then with the end of the gun he plays…” [Ruviaro walks over to a piano sitting beside me and plays the notes from his childhood memory. He comes to learn it was Chopin’s “Funeral March.”]\u003c/p>\n\u003cp>\u003cstrong>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/201648617″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/201648617″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/strong>\u003c/p>\n\u003cp>Despite his inclination to play the piano, Ruviaro’s first two years of music lessons were on the organ. “The methods they used at the time for organ contained a mix of classical and popular music. It was a little unusual,” he said. “In the same book you would have some arrangements of Beethoven pieces and then some arrangements of Beetles pieces. It was a really crazy mix. And because it was organ, they didn’t make piano-like arrangements, they made arrangements where you had the melody, and then the chords on the left hand. Pretty much how a guitar player would read music. So from the beginning I actually learned how to read chords like a popular musician would learn. I think that stayed with me. That was a very valuable thing. When I moved to piano there was no turning back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After finishing his Undergrad studies in Brazil, Ruviaro worked for two years with a theater company in São Paulo. “It was a really amazing experience,” he said. “I was just making the music for their plays. I would not only compose the music, but I was also there every night. It was mostly pre-recorded, someone else could do it, but I wanted to be there because it was so much mixing and sound balancing and hitting the right cue at the right time. So I was in a way playing the music, not like a pianist, but delivering the music together with the play.”\u003c/p>\n\u003cp>Ruviaro moved to the U.S. to continue his studies in electronic music in 2002. From 2002–2004 he worked toward a master of arts in electroacoustic music at \u003ca title=\"Dartmouth\" href=\"http://music.dartmouth.edu/graduate/people\" target=\"_blank\" rel=\"noopener\">Dartmouth\u003c/a>. After Dartmouth, Ruviaro headed west. From 2004–2010 he attended \u003ca title=\"Stanford University\" href=\"https://music.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> where he continued to study electronic music in parallel with acoustic music composition. He earned his doctorate from Stanford in 2010 and then taught at the renowned \u003ca title=\"CCRMA\" href=\"https://ccrma.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> (CCRMA) for two years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/192181431″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/192181431″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He accepted a teaching position at \u003ca title=\"Santa Clara University\" href=\"https://www.scu.edu/profiles/?p=5186\" target=\"_blank\" rel=\"noopener\">Santa Clara University\u003c/a> in 2012, where Ruviaro now heads up the electronic music department. “One of the things I liked when I came to visit for the interview was that this department was already very much in syntony with new music, experimental music and trying to be innovative or find interesting ways to teach music — even at a more basic level,” he said.\u003c/p>\n\u003cp>SCU already had the New Music Festival happening every so many years, but they didn’t have much in the way of electronic music. Ruviaro was hired to implement an electronic music program. One of the first things he launched was Santa Clara University’s Laptop Orchestra, affectionately known as \u003ca title=\"SCLOrk\" href=\"http://cms.scu.edu/cas/music/news/index.cfm?b=644&c=20241\" target=\"_blank\" rel=\"noopener\">SCLOrk\u003c/a>. Ruviaro describes it as the main project; now, the music department has three or four electronic classes built into its program.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Lts9vEBCDQ8?rel=0'\n title='//www.youtube.com/embed/Lts9vEBCDQ8?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Staying true to his experience at Dartmouth and Stanford, where students are given freedom to direct their course of study within an incredible support system, Ruviaro tells me, “You never know what people are going to come up with as long as you give them the tools, some basic knowledge to get started and the ability to learn more independently.”\u003c/p>\n\u003cp>Of course, we live in a world where attention spans are short-lived, and popular culture tends to rule the day. I ask Ruviaro how he approaches the challenge of creating in this environment.\u003c/p>\n\u003cp>“The thing that I do is often not based on a strict beat — it just requires a different kind of listening,” shares Ruviaro. “I always try to ask people in a concert to just have your ears open for different states of mind and different types of listening. Don’t frustrate yourselves trying to find a melody or a harmony. Just listen to the sounds and enjoy the flow, the sequences, the other kinds of harmonies that may show up. In that sense, it may be a little more demanding.”\u003c/p>\n\u003cp>But with greater demands often comes greater rewards.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A selection of Bruno Ruviaro’s scores, recordings, and texts can be found at \u003ca title=\"Bruno Ruviaro\" href=\"http://www.brunoruviaro.com\" target=\"_blank\" rel=\"noopener\">www.brunoruviaro.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's Official: Elbo Room to Close in November",
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"content": "\u003cp>Well, friends: Ka-THUNKa THUNKa THUNKa bbbrrrRRRRRROOOOOO ROOOOOOOOO Ka-THUNK.\u003c/p>\n\u003cp>Hear that? Get used to it, because it’s the sound that’ll be reverberating along Valencia Street when the Elbo Room is demolished for condos. In San Francisco. In the year 2015.\u003c/p>\n\u003cp>Alas, none of this is a big surprise. Rumors swirled about the beloved club’s fate last fall, culminating in a November \u003ca href=\"http://ww2.kqed.org/news/2014/11/13/san-franciscos-elbo-room-might-be-demolished-for-condos\" target=\"_blank\" rel=\"noopener\">unveiling of fully fleshed-out plans\u003c/a> for condos on the site of many a boozy, loud, distortion- and bass-heavy night in the Mission District. And though a \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">flicker of hope loomed that the club’s lease may be renewed\u003c/a>, with the condo project’s permit approval as the key variable, today owner Matt Shapiro delivered the official Valencia Street death knell:\u003c/p>\n\u003cblockquote>\u003cp>Hey Everyone\u003cbr>\nThere is finally news.\u003cbr>\nDennis and Susan Ring had a meeting with the powers that be and they seem quite confident that their condo project will be able to move forward.\u003cbr>\nAs a result, they have decided not to renew our lease which expires Nov. 1st, 2015.\u003c/p>\n\u003cp>Yes, we are in shock.\u003c/p>\n\u003cp>What’s next?\u003cbr>\nWe will be looking for a new space to continue what we are doing. With hopefully as little lapse as possible.\u003cbr>\nWe own the liquor license, the business and all contents inside (except for pinball/pacman).\u003cbr>\nHopefully we can find something soon.\u003c/p>\n\u003cp>If you have any leads on a space for us, or wish to help… please email mattshapiro@mac.com\u003c/p>\n\u003cp>Thank You for your ongoing support\u003c/p>\n\u003cp>Matt Shapiro/ Erik Cantu\u003cbr>\nand the staff of Elbo Room\n\u003c/p>\u003c/blockquote>\n\u003cp>We raise a glass to you, Elbo Room. You served us well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, friends: Ka-THUNKa THUNKa THUNKa bbbrrrRRRRRROOOOOO ROOOOOOOOO Ka-THUNK.\u003c/p>\n\u003cp>Hear that? Get used to it, because it’s the sound that’ll be reverberating along Valencia Street when the Elbo Room is demolished for condos. In San Francisco. In the year 2015.\u003c/p>\n\u003cp>Alas, none of this is a big surprise. Rumors swirled about the beloved club’s fate last fall, culminating in a November \u003ca href=\"http://ww2.kqed.org/news/2014/11/13/san-franciscos-elbo-room-might-be-demolished-for-condos\" target=\"_blank\" rel=\"noopener\">unveiling of fully fleshed-out plans\u003c/a> for condos on the site of many a boozy, loud, distortion- and bass-heavy night in the Mission District. And though a \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">flicker of hope loomed that the club’s lease may be renewed\u003c/a>, with the condo project’s permit approval as the key variable, today owner Matt Shapiro delivered the official Valencia Street death knell:\u003c/p>\n\u003cblockquote>\u003cp>Hey Everyone\u003cbr>\nThere is finally news.\u003cbr>\nDennis and Susan Ring had a meeting with the powers that be and they seem quite confident that their condo project will be able to move forward.\u003cbr>\nAs a result, they have decided not to renew our lease which expires Nov. 1st, 2015.\u003c/p>\n\u003cp>Yes, we are in shock.\u003c/p>\n\u003cp>What’s next?\u003cbr>\nWe will be looking for a new space to continue what we are doing. With hopefully as little lapse as possible.\u003cbr>\nWe own the liquor license, the business and all contents inside (except for pinball/pacman).\u003cbr>\nHopefully we can find something soon.\u003c/p>\n\u003cp>If you have any leads on a space for us, or wish to help… please email mattshapiro@mac.com\u003c/p>\n\u003cp>Thank You for your ongoing support\u003c/p>\n\u003cp>Matt Shapiro/ Erik Cantu\u003cbr>\nand the staff of Elbo Room\n\u003c/p>\u003c/blockquote>\n\u003cp>We raise a glass to you, Elbo Room. You served us well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Feelin' Like Yeeee: Oakland Art Show Honors Mac Dre",
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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/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Dre Area’\u003c/h2>\n\u003cdiv class=\"event-desc\">Art show dedicated to Mac Dre.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 25, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">347 13th St., Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the years since his 2004 death, iconic Bay Area rapper Mac Dre has been immortalized in \u003ca href=\"http://www.eastbayexpress.com/oakland/bay-area-on-your-feet/Content?oid=1082756\" target=\"_blank\" rel=\"noopener\">sneakers\u003c/a>, \u003ca href=\"http://genius.com/425311/Drake-the-motto/Im-in-the-building-and-im-feeling-myself-rest-in-peace-mac-dre-im-a-do-it-for-the-bay\" target=\"_blank\" rel=\"noopener\">Drake shout-outs\u003c/a> and murals from \u003ca href=\"http://www.yelp.com/biz/mac-dre-memorial-san-francisco\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a> to \u003ca href=\"https://www.flickr.com/photos/la-rue/4874544957/\" target=\"_blank\" rel=\"noopener\">Vallejo\u003c/a>.\u003c/p>\n\u003cp>And now, a devoted fan and local artist is arranging a more traditional artistic tribute: an Oakland art show, ‘\u003ca href=\"https://www.facebook.com/events/511231955681643/\" target=\"_blank\" rel=\"noopener\">Dre Area\u003c/a>,’ featuring a selection of works in several mediums celebrating the rapper’s life, whose journey from Vallejo’s rough Crest neighborhood to local stardom helped shape the hyphy movement of the early- to mid-2000s.\u003c/p>\n\u003cp>But the artist curating the show wasn’t always a Mac Dre fan. The first time Alameda artist \u003ca href=\"http://streetbleach.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Maxwell Sage\u003c/a> heard Dre’s music, he wasn’t impressed. Dre’s bouncy anthems celebrating drugs, partying and the occasional crime rubbed Sage these wrong way. (“I was going through my backpack hip-hop phase,” he notes.)\u003c/p>\n\u003cfigure id=\"attachment_10579660\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg\" alt=\"(Illustration by Michael Boyle)\" width=\"526\" height=\"640\" class=\"size-full wp-image-10579660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-400x487.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-493x600.jpg 493w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-320x389.jpg 320w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Michael Boyle)\u003c/figcaption>\u003c/figure>\n\u003cp>Yet after friends pressured him to give Dre’s music another chance, he eventually became a huge fan, not only of his music, but of the man himself. It was the early 2000s, and Dre was an omnipresent figure in the Bay Area rap community, out of prison and eager to build a unified local rap scene. Like so many others, Sage got swept up in the new, positive energy trickling around the Bay Area. “I made hyphy music, I thizzed, wore the stunna shades and everything,” he said. “The hyphy movement, from my perspective, was a whole generation of Bay Area youth trying to emulate Mac Dre.”\u003c/p>\n\u003cp>More than a decade after he was fatally shot in Kansas City, Mac Dre is still an influence. Recently, Sage started posting Photoshop art featuring the rapper on Instagram, where it was reposted by Thizz Entertainment, the label Dre founded that helped launch the careers of Mistah F.A.B and Keak da Sneak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sage quickly noticed that he wasn’t the only one creating Mac Dre-inspired art. Thizz’s \u003ca href=\"https://instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> is \u003ca href=\"https://instagram.com/explore/tags/macdreart/\" target=\"_blank\" rel=\"noopener\">filled with\u003c/a> depictions of Dre: his thizz face adorning a snowboard, drawn as “Macio Andretti” and the subject of countless tattoos. Sage realized that there was a ton of material, enough to warrant an art show.\u003c/p>\n\u003cp>With Thizz’s blessing, he started talking to artists and gathering pieces for the April 25 show in downtown Oakland, where a portion of the show’s $5 entrance fee will go to Dre’s family. Pieces include several canvas portraits, electrical art, and a barber who will shave a portrait of Dre into someone’s head. With Thizz’s promotion and Dre’s enduring popularity, the show quickly filled up.\u003c/p>\n\u003cfigure id=\"attachment_10579661\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg\" alt=\"(Artwork by Fernando Garcia)\" width=\"640\" height=\"647\" class=\"size-full wp-image-10579661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-320x324.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Artwork by Fernando Garcia)\u003c/figcaption>\u003c/figure>\n\u003cp>“Mac Dre was there for me,” said Alameda artist Rebel Stilskin, who’s working on a large piece depicting Dre in space, incorporating imagery of the Hindu deity Ganesha. “I’d look to his songs, and he’s been through a lot of different things and he was just talking to me like a father. I really looked up to him.”\u003c/p>\n\u003cp>For Sage, that kind of formative impact Dre had on Bay Area youth is why he remains such an important figure, one that still looms large in the Bay Area musical landscape, deserving of an art show more than 10 years after his death.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have two heroes, Mac Dre [and] Nikola Tesla. Tesla is my hero because he tuned out everything else and changed the world with his drive to do the thing he wanted to do, which was create technology that bettered the world,” Sage said. “Mac Dre is my hero because just by Mac Dre being himself, having the personality he had, doing the thing that he liked to do, he transformed a whole generation. He created a whole era of Bay Area youth culture, just around his personality.”\u003c/p>\n\n",
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"title": "Feelin' Like Yeeee: Oakland Art Show Honors Mac Dre | KQED",
"description": "Despite his enduring influence, iconic Vallejo rap artist Mac Dre has never been the central subject of a themed art show -- until now.",
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"headline": "Feelin' Like Yeeee: Oakland Art Show Honors Mac Dre",
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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/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Dre Area’\u003c/h2>\n\u003cdiv class=\"event-desc\">Art show dedicated to Mac Dre.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 25, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">347 13th St., Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mac-dre-art-show/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the years since his 2004 death, iconic Bay Area rapper Mac Dre has been immortalized in \u003ca href=\"http://www.eastbayexpress.com/oakland/bay-area-on-your-feet/Content?oid=1082756\" target=\"_blank\" rel=\"noopener\">sneakers\u003c/a>, \u003ca href=\"http://genius.com/425311/Drake-the-motto/Im-in-the-building-and-im-feeling-myself-rest-in-peace-mac-dre-im-a-do-it-for-the-bay\" target=\"_blank\" rel=\"noopener\">Drake shout-outs\u003c/a> and murals from \u003ca href=\"http://www.yelp.com/biz/mac-dre-memorial-san-francisco\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a> to \u003ca href=\"https://www.flickr.com/photos/la-rue/4874544957/\" target=\"_blank\" rel=\"noopener\">Vallejo\u003c/a>.\u003c/p>\n\u003cp>And now, a devoted fan and local artist is arranging a more traditional artistic tribute: an Oakland art show, ‘\u003ca href=\"https://www.facebook.com/events/511231955681643/\" target=\"_blank\" rel=\"noopener\">Dre Area\u003c/a>,’ featuring a selection of works in several mediums celebrating the rapper’s life, whose journey from Vallejo’s rough Crest neighborhood to local stardom helped shape the hyphy movement of the early- to mid-2000s.\u003c/p>\n\u003cp>But the artist curating the show wasn’t always a Mac Dre fan. The first time Alameda artist \u003ca href=\"http://streetbleach.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Maxwell Sage\u003c/a> heard Dre’s music, he wasn’t impressed. Dre’s bouncy anthems celebrating drugs, partying and the occasional crime rubbed Sage these wrong way. (“I was going through my backpack hip-hop phase,” he notes.)\u003c/p>\n\u003cfigure id=\"attachment_10579660\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg\" alt=\"(Illustration by Michael Boyle)\" width=\"526\" height=\"640\" class=\"size-full wp-image-10579660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-400x487.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-493x600.jpg 493w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.MichaelBoyle-320x389.jpg 320w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Michael Boyle)\u003c/figcaption>\u003c/figure>\n\u003cp>Yet after friends pressured him to give Dre’s music another chance, he eventually became a huge fan, not only of his music, but of the man himself. It was the early 2000s, and Dre was an omnipresent figure in the Bay Area rap community, out of prison and eager to build a unified local rap scene. Like so many others, Sage got swept up in the new, positive energy trickling around the Bay Area. “I made hyphy music, I thizzed, wore the stunna shades and everything,” he said. “The hyphy movement, from my perspective, was a whole generation of Bay Area youth trying to emulate Mac Dre.”\u003c/p>\n\u003cp>More than a decade after he was fatally shot in Kansas City, Mac Dre is still an influence. Recently, Sage started posting Photoshop art featuring the rapper on Instagram, where it was reposted by Thizz Entertainment, the label Dre founded that helped launch the careers of Mistah F.A.B and Keak da Sneak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sage quickly noticed that he wasn’t the only one creating Mac Dre-inspired art. Thizz’s \u003ca href=\"https://instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> is \u003ca href=\"https://instagram.com/explore/tags/macdreart/\" target=\"_blank\" rel=\"noopener\">filled with\u003c/a> depictions of Dre: his thizz face adorning a snowboard, drawn as “Macio Andretti” and the subject of countless tattoos. Sage realized that there was a ton of material, enough to warrant an art show.\u003c/p>\n\u003cp>With Thizz’s blessing, he started talking to artists and gathering pieces for the April 25 show in downtown Oakland, where a portion of the show’s $5 entrance fee will go to Dre’s family. Pieces include several canvas portraits, electrical art, and a barber who will shave a portrait of Dre into someone’s head. With Thizz’s promotion and Dre’s enduring popularity, the show quickly filled up.\u003c/p>\n\u003cfigure id=\"attachment_10579661\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg\" alt=\"(Artwork by Fernando Garcia)\" width=\"640\" height=\"647\" class=\"size-full wp-image-10579661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-320x324.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MacDre.FernandoGarcia-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(Artwork by Fernando Garcia)\u003c/figcaption>\u003c/figure>\n\u003cp>“Mac Dre was there for me,” said Alameda artist Rebel Stilskin, who’s working on a large piece depicting Dre in space, incorporating imagery of the Hindu deity Ganesha. “I’d look to his songs, and he’s been through a lot of different things and he was just talking to me like a father. I really looked up to him.”\u003c/p>\n\u003cp>For Sage, that kind of formative impact Dre had on Bay Area youth is why he remains such an important figure, one that still looms large in the Bay Area musical landscape, deserving of an art show more than 10 years after his death.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have two heroes, Mac Dre [and] Nikola Tesla. Tesla is my hero because he tuned out everything else and changed the world with his drive to do the thing he wanted to do, which was create technology that bettered the world,” Sage said. “Mac Dre is my hero because just by Mac Dre being himself, having the personality he had, doing the thing that he liked to do, he transformed a whole generation. He created a whole era of Bay Area youth culture, just around his personality.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Spotlight on San Francisco Singer-Songwriters",
"headTitle": "Mixtape: Spotlight on San Francisco Singer-Songwriters | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of San Francisco singer-songwriters.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SF_Songwriters_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s not entirely clear why a remarkable new wave of singer-songwriters has begun to emerge in the Bay Area recently, but we certainly aren’t complaining. Other genres may fall more in and out of vogue, but a wide array of local songwriting talents influenced by folk, rock, blues, pop, and psych are performing regularly in places like \u003ca href=\"http://viracochasf.com\">Viracocha\u003c/a>, \u003ca href=\"http://www.docslabsf.com/\">Doc’s Lab\u003c/a>, and \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>, and banding together for showcases like the \u003ca href=\"https://www.facebook.com/fogcitysongwriters\">Fog City Songwriters\u003c/a> series of quarterly events.\u003c/p>\n\u003cp>While veteran performers like \u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> regularly headline shows around the Bay Area, buzzed-about artists like \u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> are beginning to join them. Xavier Dphrepaulezz’s blues-influenced project \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\">won NPR’s Tiny Desk Concert Contest\u003c/a>, and he’ll be performing at Outside Lands this summer. Also on the radar: SF’s \u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong>, who, despite being only 19, released his second album, \u003cem>The Shakes\u003c/em>, to much acclaim late last year.\u003c/p>\n\u003cp>The term “singer-songwriter” often triggers mental images of a lone troubadour with an acoustic guitar, and, to be sure, a handful of the songs included here fit that mold. \u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> often performs with a full band, but late last year’s \u003cem>Young Daze [Acoustic]\u003c/em> offered a compelling, restrained take on songs from his 2014 LP. Similarly, Kevin Patrick fronts the rollicking trio Rin Tin Tiger, but his solo work as \u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> is quiet, sparse and weighty.\u003c/p>\n\u003cp>But this mix also showcases Bay Area musicians exploring sonic terrain beyond the stripped-down acoustic landscape. \u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong>’s latest, \u003cem>A Rush\u003c/em>, mixes psych, soul, and other influences in a way that’s unique and unpredictable. Speaking of unpredictable, \u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong>’s album \u003cem>Chestnut Street\u003c/em> was very stripped-down, so the deliriously kaleidoscopic “Do What You Want” suggests a new and exciting direction on her next LP.\u003c/p>\n\u003cp>This mixtape collects 14 songs by singer-songwriters from the San Francisco Bay Area, including all of the artists discussed above and many more. Enjoy the mix!\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>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> – “Ode to San Francisco”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong> – “Falling Up”\u003cbr>\n\u003cstrong>\u003ca href=\"http://rosiecima.bandcamp.com\">Rosie Cima\u003c/a>\u003c/strong> – “The Pablo Song”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> – “An Honest Man”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> – “Fuck You Grim Reaper”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> – “In Your Place”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong> – “A Prayer for Black America”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> – “Young Daze [Acoustic]”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/RachelAngelRevelations\">Rachel Angel\u003c/a>\u003c/strong> – “What I Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/debbieneighermusic\">Debbie Neigher\u003c/a>\u003c/strong> – “Smile”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/doncatmusic\">DonCat\u003c/a>\u003c/strong> – “Where Wind Blows”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong> – “Do What You Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/rivvrs\">Rivvrs\u003c/a>\u003c/strong> – “I Will Follow You”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KarmenButtlerMusic\">Karmen Buttler\u003c/a>\u003c/strong> – “Daze of Love”\t\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 San Francisco singer-songwriters.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SF_Songwriters_2015_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s not entirely clear why a remarkable new wave of singer-songwriters has begun to emerge in the Bay Area recently, but we certainly aren’t complaining. Other genres may fall more in and out of vogue, but a wide array of local songwriting talents influenced by folk, rock, blues, pop, and psych are performing regularly in places like \u003ca href=\"http://viracochasf.com\">Viracocha\u003c/a>, \u003ca href=\"http://www.docslabsf.com/\">Doc’s Lab\u003c/a>, and \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>, and banding together for showcases like the \u003ca href=\"https://www.facebook.com/fogcitysongwriters\">Fog City Songwriters\u003c/a> series of quarterly events.\u003c/p>\n\u003cp>While veteran performers like \u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> regularly headline shows around the Bay Area, buzzed-about artists like \u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> are beginning to join them. Xavier Dphrepaulezz’s blues-influenced project \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\">won NPR’s Tiny Desk Concert Contest\u003c/a>, and he’ll be performing at Outside Lands this summer. Also on the radar: SF’s \u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong>, who, despite being only 19, released his second album, \u003cem>The Shakes\u003c/em>, to much acclaim late last year.\u003c/p>\n\u003cp>The term “singer-songwriter” often triggers mental images of a lone troubadour with an acoustic guitar, and, to be sure, a handful of the songs included here fit that mold. \u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> often performs with a full band, but late last year’s \u003cem>Young Daze [Acoustic]\u003c/em> offered a compelling, restrained take on songs from his 2014 LP. Similarly, Kevin Patrick fronts the rollicking trio Rin Tin Tiger, but his solo work as \u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> is quiet, sparse and weighty.\u003c/p>\n\u003cp>But this mix also showcases Bay Area musicians exploring sonic terrain beyond the stripped-down acoustic landscape. \u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong>’s latest, \u003cem>A Rush\u003c/em>, mixes psych, soul, and other influences in a way that’s unique and unpredictable. Speaking of unpredictable, \u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong>’s album \u003cem>Chestnut Street\u003c/em> was very stripped-down, so the deliriously kaleidoscopic “Do What You Want” suggests a new and exciting direction on her next LP.\u003c/p>\n\u003cp>This mixtape collects 14 songs by singer-songwriters from the San Francisco Bay Area, including all of the artists discussed above and many more. Enjoy the mix!\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>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thesamchasemusic\">The Sam Chase\u003c/a>\u003c/strong> – “Ode to San Francisco”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/andrewsaintjames\">Andrew St. James\u003c/a>\u003c/strong> – “Falling Up”\u003cbr>\n\u003cstrong>\u003ca href=\"http://rosiecima.bandcamp.com\">Rosie Cima\u003c/a>\u003c/strong> – “The Pablo Song”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> – “An Honest Man”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/fieldmedicmusic\">Field Medic\u003c/a>\u003c/strong> – “Fuck You Grim Reaper”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/LiaRoseOfficial\">Lia Rose\u003c/a>\u003c/strong> – “In Your Place”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/jordannahe\">Jordannah Elizabeth\u003c/a>\u003c/strong> – “A Prayer for Black America”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/iamtravishayes\">Travis Hayes\u003c/a>\u003c/strong> – “Young Daze [Acoustic]”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/RachelAngelRevelations\">Rachel Angel\u003c/a>\u003c/strong> – “What I Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/debbieneighermusic\">Debbie Neigher\u003c/a>\u003c/strong> – “Smile”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/doncatmusic\">DonCat\u003c/a>\u003c/strong> – “Where Wind Blows”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KendraMcKinleyMusic\">Kendra McKinley\u003c/a>\u003c/strong> – “Do What You Want”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/rivvrs\">Rivvrs\u003c/a>\u003c/strong> – “I Will Follow You”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/KarmenButtlerMusic\">Karmen Buttler\u003c/a>\u003c/strong> – “Daze of Love”\t\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Punk's Comedy Troupe The Dead Milkmen Discuss the Old Days",
"headTitle": "Punk’s Comedy Troupe The Dead Milkmen Discuss the Old Days | KQED",
"content": "\u003cp>The fact that the Dead Milkmen are back, touring again with a new album, gives me hope for the future. Many might not share my opinion, but then again they’re probably too serious to have a good time.\u003c/p>\n\u003cp>Started in Philadelphia in the early ’80s, cutting their teeth playing with the angry, break-neck fast hardcore bands of the day, the Dead Milkmen couldn’t have been more of an anomaly; they had no distortion, and their lyrics were funny and decipherable. But they found a following among the punks and even “normal people,” especially after the release of their first album, the punk rock classic \u003ci>Big Lizard in My Backyard.\u003c/i>\u003c/p>\n\u003cp>As the ’80s went on, the Dead Milkmen would inspire smiles and guffaws from college radio listeners all over the nation with hits likes “Bitchin’ Camaro,” “Beach Party Vietnam” and, of course, “Punk Rock Girl.” These four scrawny punching bags would even find themselves on MTV — multiple times, mind you — and end their career (the first time) after releasing two albums on a major label.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Dead Milkmen\u003c/h2>\n\u003cdiv class=\"event-desc\">Charming punk pranksters on tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Slim’s\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>And now they’re back, having reunited a second time — the first time was a one-off at the memorial for their bass player Dave “Blood” Schulthise, who committed suicide in 2004 — and with the second album since their return, \u003ci>Pretty Music for Pretty People.\u003c/i> We caught up with drummer Dean “Clean” Sabatino before their show at Slim’s in order to dispel some rumors and learn the truth about the band, since their official bio is \u003ca href=\"http://www.deadmilkmen.com/press.html\" target=\"_blank\" rel=\"noopener\">practically useless\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>After the band broke up in 1995, most of you kept playing music — I remember seeing that Rodney (“Anonymous” Linderman, the singer) was in a bluegrass band. What did everyone else do musically?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rodney had a kind of bluegrass band called Burn Witch Burn. It was somewhat Pogues-inspired. Joe (“Jack Talcum” Genaro, the guitarist) had a project he called Butterfly Joe, which was basically his solo stuff and which I actually played on; he released one album that way. Dave got out of the music business and he went back to college. \u003c/p>\n\u003cp>\u003cstrong>You guys don’t really have a set “sound” per se, but the songs still sound like the Dead Milkmen. How do you guys ensure a song sounds like the Dead Milkmen when your influences are so diverse? For example, I’ve been reading about how Rodney is really into techno and industrial music. Will the Milkmen try to do a song like that?\u003c/strong>\u003c/p>\n\u003cp>Rodney is definitely into industrial goth-type stuff now, but no, we don’t have a set of rules or guidelines or anything. The songs come in and are somehow magically formed into Dead Milkmen songs. It happens and I don’t think we can stop it. And as you mentioned, we never really had a set sound. We sounded like the Dead Milkmen but each song might have a different style to it. That’s what we continue to do — to not say, “Okay, this is going to be a fast, 4-4 punk rock song.” It’s just like this song is going to be what it’s going to be. \u003c/p>\n\u003cp>\u003cstrong>\u003ci>Big Lizard\u003c/i> sounds almost hardcore, especially since so many songs are break-neck fast. But there’s also some undeniable grooves in there, like “Serrated Edge.” Did you guys play so fast in the beginning because you were starting off in the Philly hardcore scene?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10567049\" class=\"wp-caption alignright\" style=\"max-width: 780px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\" alt=\"The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\" width=\"780\" height=\"516\" class=\"size-full wp-image-10567049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-320x212.jpg 320w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\u003c/figcaption>\u003c/figure>\n\u003cp>That’s right, we got our start in the Philly hardcore scene, playing all-ages shows with hardcore bands. But if anything, we went for a cleaner sound in order to sound different from them. Some of the humor was that these hardcore bands back in the day took themselves way too seriously. We wanted to sound different, and I think we succeeded.\u003c/p>\n\u003cp>\u003cstrong>Could you hold your own when playing with such fast, intense hardcore bands like \u003ca href=\"https://www.youtube.com/watch?v=5MVovyV-UpA\" target=\"_blank\" rel=\"noopener\">Flag of Democracy (F.O.D.)\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we became pretty popular and we didn’t have a problem; we enjoyed being on those bills and there were plenty of great bands to play with. People seemed to accept us. \u003c/p>\n\u003cp>Early on we had a champion in Philly with the Penn radio station WXPN, and they picked up a homemade recording of “Bitchin’ Camaro” and it kind of took off from there. We played a couple of hardcore shows and the people had really identified with that song; they knew all the words already. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/197723832″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>When you went pro, did you depend more on touring or album sales?\u003c/strong>\u003c/p>\n\u003cp>We were definitely a touring band. We made our money touring and we toured relentlessly. I used to joke that we used to do two laps around the country every year. And we also did a couple tours of Europe. But that’s how we survived; we toured a lot and we did well on the road. \u003c/p>\n\u003cp>We had a big seller with \u003ci>Big Lizard\u003c/i> and “Punk Rock Girl” certainly helped us, especially with the exposure on MTV when it really took off. But touring is how we survived.\u003c/p>\n\u003cp>\u003cstrong>In an interview with \u003ca href=\"http://www.razorcake.org/catalog/index.php?main_page=product_info&cPath=2&products_id=603\" target=\"_blank\" rel=\"noopener\">\u003ci>Razorcake\u003c/i>\u003c/a> back in 2010, Joe mentioned that after the success of “Punk Rock Girl,” the label pushed him to write more songs that he sang. What was that like to have that interference from a label?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we fought against all that kind of stuff. We fought hard against playing on MTV and we tried to do things as much as possible on our own terms. Maybe Joe felt the pressure more than the rest of us did, but I guess once they saw the success of “Punk Rock Girl,” typical of labels they’d want another single that sounds just like that, or close enough to that so people would buy it again. But as you can tell, we just do what we do.\u003c/p>\n\u003cp>\u003cstrong>Even though you fought it, you ended up on MTV a few times anyways?\u003c/strong>\u003c/p>\n\u003cp>We did \u003cem>120 Minutes\u003c/em> and we \u003ca href=\"https://www.youtube.com/watch?v=c17lUK1jMH0\" target=\"_blank\" rel=\"noopener\">played acoustically on there\u003c/a>, which was interesting — I’m curious to know whether or not it was before the \u003cem>Unplugged\u003c/em> stuff. Then we did that dance show with Downtown Julie Brown, which was hilarious. We played “Punk Rock Girl” and we had wanted to play it live — that would’ve been better in our minds to actually play the song — but they wouldn’t let us; they forced us to lip sync it. So, we wanted to do it on our own terms, so we made a list of demands, which they met. I had a humongous drum kit, which was not my kit, and I didn’t pretend to play the song. And Rodney played a tuba because he doesn’t even sing on the song. You can find the footage on YouTube; it’s pretty hilarious. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LRcGkLaCDWQ\u003c/p>\n\u003cp>\u003cstrong>Do you miss MTV at all? Do you miss those opportunities to have that one out-of-the-blue hit?\u003c/strong>\u003c/p>\n\u003cp>Not really. The landscape is totally different now with the internet and it’s just a lot more wide open; you’re competing with a lot more bands now then you used to, I think. The barrier to recording and releasing is a lot lower than it used to be. That being said, you have to sort through a lot to find the good stuff; that’s the hard part.\u003c/p>\n\u003cp>\u003cstrong>You’ve recorded a lot of demos over the years — are you guys sitting on a vault of unreleased material?\u003c/strong>\u003c/p>\n\u003cp>Not really. There’s a couple of things but not a huge amount. I’m actually in the process of going through some old 4-track demos to see if there’s anything worthwhile. I haven’t found too much that hasn’t already been released. Hopefully there’s a few gems in there. \u003c/p>\n\u003cp>\u003cstrong>Finally, what happened with that fake breakup in Norway?\u003c/strong>\u003c/p>\n\u003cp>A short while before that, I think Camper Van Beethoven broke up there, so we wanted to confuse the Norwegian audience and make them think they cause bands to break up when they play there. \u003c/p>\n\u003cp>\u003cstrong>How did you stage it? Did you fight during your set?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yeah, Joe and Rodney pretended to argue and fight on stage, and I think Rodney stormed off stage and that was the end of the set. Then they pretended to work it out and we played a few more songs. It was pretty funny.\u003c/p>\n\n",
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"excerpt": "They were an anomaly in the punk scene and probably the weirdest band to ever have a hit single on MTV. But The Dead Milkmen always followed their own set of rules, which is probably why they're still beloved today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fact that the Dead Milkmen are back, touring again with a new album, gives me hope for the future. Many might not share my opinion, but then again they’re probably too serious to have a good time.\u003c/p>\n\u003cp>Started in Philadelphia in the early ’80s, cutting their teeth playing with the angry, break-neck fast hardcore bands of the day, the Dead Milkmen couldn’t have been more of an anomaly; they had no distortion, and their lyrics were funny and decipherable. But they found a following among the punks and even “normal people,” especially after the release of their first album, the punk rock classic \u003ci>Big Lizard in My Backyard.\u003c/i>\u003c/p>\n\u003cp>As the ’80s went on, the Dead Milkmen would inspire smiles and guffaws from college radio listeners all over the nation with hits likes “Bitchin’ Camaro,” “Beach Party Vietnam” and, of course, “Punk Rock Girl.” These four scrawny punching bags would even find themselves on MTV — multiple times, mind you — and end their career (the first time) after releasing two albums on a major label.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Dead Milkmen\u003c/h2>\n\u003cdiv class=\"event-desc\">Charming punk pranksters on tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Slim’s\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-dead-milkmen-3/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>And now they’re back, having reunited a second time — the first time was a one-off at the memorial for their bass player Dave “Blood” Schulthise, who committed suicide in 2004 — and with the second album since their return, \u003ci>Pretty Music for Pretty People.\u003c/i> We caught up with drummer Dean “Clean” Sabatino before their show at Slim’s in order to dispel some rumors and learn the truth about the band, since their official bio is \u003ca href=\"http://www.deadmilkmen.com/press.html\" target=\"_blank\" rel=\"noopener\">practically useless\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>After the band broke up in 1995, most of you kept playing music — I remember seeing that Rodney (“Anonymous” Linderman, the singer) was in a bluegrass band. What did everyone else do musically?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rodney had a kind of bluegrass band called Burn Witch Burn. It was somewhat Pogues-inspired. Joe (“Jack Talcum” Genaro, the guitarist) had a project he called Butterfly Joe, which was basically his solo stuff and which I actually played on; he released one album that way. Dave got out of the music business and he went back to college. \u003c/p>\n\u003cp>\u003cstrong>You guys don’t really have a set “sound” per se, but the songs still sound like the Dead Milkmen. How do you guys ensure a song sounds like the Dead Milkmen when your influences are so diverse? For example, I’ve been reading about how Rodney is really into techno and industrial music. Will the Milkmen try to do a song like that?\u003c/strong>\u003c/p>\n\u003cp>Rodney is definitely into industrial goth-type stuff now, but no, we don’t have a set of rules or guidelines or anything. The songs come in and are somehow magically formed into Dead Milkmen songs. It happens and I don’t think we can stop it. And as you mentioned, we never really had a set sound. We sounded like the Dead Milkmen but each song might have a different style to it. That’s what we continue to do — to not say, “Okay, this is going to be a fast, 4-4 punk rock song.” It’s just like this song is going to be what it’s going to be. \u003c/p>\n\u003cp>\u003cstrong>\u003ci>Big Lizard\u003c/i> sounds almost hardcore, especially since so many songs are break-neck fast. But there’s also some undeniable grooves in there, like “Serrated Edge.” Did you guys play so fast in the beginning because you were starting off in the Philly hardcore scene?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10567049\" class=\"wp-caption alignright\" style=\"max-width: 780px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg\" alt=\"The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\" width=\"780\" height=\"516\" class=\"size-full wp-image-10567049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dead-Milkmen-w-Wurster-320x212.jpg 320w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Dead Milkmen playing one of their first shows in Philadelphia back in 1983. Jon Wurster (Superchunk, Mountain Goats, Bob Mould) is singing backup and wearing chaps. (Courtesy of the Dead Mlikmen)\u003c/figcaption>\u003c/figure>\n\u003cp>That’s right, we got our start in the Philly hardcore scene, playing all-ages shows with hardcore bands. But if anything, we went for a cleaner sound in order to sound different from them. Some of the humor was that these hardcore bands back in the day took themselves way too seriously. We wanted to sound different, and I think we succeeded.\u003c/p>\n\u003cp>\u003cstrong>Could you hold your own when playing with such fast, intense hardcore bands like \u003ca href=\"https://www.youtube.com/watch?v=5MVovyV-UpA\" target=\"_blank\" rel=\"noopener\">Flag of Democracy (F.O.D.)\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we became pretty popular and we didn’t have a problem; we enjoyed being on those bills and there were plenty of great bands to play with. People seemed to accept us. \u003c/p>\n\u003cp>Early on we had a champion in Philly with the Penn radio station WXPN, and they picked up a homemade recording of “Bitchin’ Camaro” and it kind of took off from there. We played a couple of hardcore shows and the people had really identified with that song; they knew all the words already. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/197723832″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/197723832″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>When you went pro, did you depend more on touring or album sales?\u003c/strong>\u003c/p>\n\u003cp>We were definitely a touring band. We made our money touring and we toured relentlessly. I used to joke that we used to do two laps around the country every year. And we also did a couple tours of Europe. But that’s how we survived; we toured a lot and we did well on the road. \u003c/p>\n\u003cp>We had a big seller with \u003ci>Big Lizard\u003c/i> and “Punk Rock Girl” certainly helped us, especially with the exposure on MTV when it really took off. But touring is how we survived.\u003c/p>\n\u003cp>\u003cstrong>In an interview with \u003ca href=\"http://www.razorcake.org/catalog/index.php?main_page=product_info&cPath=2&products_id=603\" target=\"_blank\" rel=\"noopener\">\u003ci>Razorcake\u003c/i>\u003c/a> back in 2010, Joe mentioned that after the success of “Punk Rock Girl,” the label pushed him to write more songs that he sang. What was that like to have that interference from a label?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we fought against all that kind of stuff. We fought hard against playing on MTV and we tried to do things as much as possible on our own terms. Maybe Joe felt the pressure more than the rest of us did, but I guess once they saw the success of “Punk Rock Girl,” typical of labels they’d want another single that sounds just like that, or close enough to that so people would buy it again. But as you can tell, we just do what we do.\u003c/p>\n\u003cp>\u003cstrong>Even though you fought it, you ended up on MTV a few times anyways?\u003c/strong>\u003c/p>\n\u003cp>We did \u003cem>120 Minutes\u003c/em> and we \u003ca href=\"https://www.youtube.com/watch?v=c17lUK1jMH0\" target=\"_blank\" rel=\"noopener\">played acoustically on there\u003c/a>, which was interesting — I’m curious to know whether or not it was before the \u003cem>Unplugged\u003c/em> stuff. Then we did that dance show with Downtown Julie Brown, which was hilarious. We played “Punk Rock Girl” and we had wanted to play it live — that would’ve been better in our minds to actually play the song — but they wouldn’t let us; they forced us to lip sync it. So, we wanted to do it on our own terms, so we made a list of demands, which they met. I had a humongous drum kit, which was not my kit, and I didn’t pretend to play the song. And Rodney played a tuba because he doesn’t even sing on the song. You can find the footage on YouTube; it’s pretty hilarious. \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/LRcGkLaCDWQ'\n title='//www.youtube.com/embed/LRcGkLaCDWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do you miss MTV at all? Do you miss those opportunities to have that one out-of-the-blue hit?\u003c/strong>\u003c/p>\n\u003cp>Not really. The landscape is totally different now with the internet and it’s just a lot more wide open; you’re competing with a lot more bands now then you used to, I think. The barrier to recording and releasing is a lot lower than it used to be. That being said, you have to sort through a lot to find the good stuff; that’s the hard part.\u003c/p>\n\u003cp>\u003cstrong>You’ve recorded a lot of demos over the years — are you guys sitting on a vault of unreleased material?\u003c/strong>\u003c/p>\n\u003cp>Not really. There’s a couple of things but not a huge amount. I’m actually in the process of going through some old 4-track demos to see if there’s anything worthwhile. I haven’t found too much that hasn’t already been released. Hopefully there’s a few gems in there. \u003c/p>\n\u003cp>\u003cstrong>Finally, what happened with that fake breakup in Norway?\u003c/strong>\u003c/p>\n\u003cp>A short while before that, I think Camper Van Beethoven broke up there, so we wanted to confuse the Norwegian audience and make them think they cause bands to break up when they play there. \u003c/p>\n\u003cp>\u003cstrong>How did you stage it? Did you fight during your set?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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 a jazz master’s premiere, the return of a Macarthur Genius playwright, a visual trip to the promised land and more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/04/20150417tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565202 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-400x225.jpg\" alt=\"Charles Lloyd (Photo: D. Darr) \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Charles Lloyd\u003c/h3>\n\u003cp>Ever since his early gigs as a bandleader playing Bill Graham-produced shows at the Fillmore — as well as his star-making \u003ca href=\"https://www.youtube.com/watch?v=qOGqAvElCAs\" target=\"_blank\" rel=\"noopener\">1966 appearance at the Monterey Jazz Festival\u003c/a> (with his epochal quartet featuring pianist Keith Jarrett, bassist Cecil McBee and drummer Jack DeJohnette) — tenor saxophonist and flutist Charles Lloyd has found an avid audience in the Bay Area. At 77, he’s as passionately expressive as ever, and still forging creative ties with artists who can take him into uncharted realms. Opening a four-night run at SFJAZZ, Lloyd celebrates the release of a stellar new album \u003cem>Wild Man Dance Suite\u003c/em> (Blue Note). On April 23 and 24, his New Quartet is joined by lyra virtuoso Sokratis Sinopoulos and Miklos Lucacs on the Hungarian Gypsy cimbalom (hammered dulcimer), who help bring to life music inspired by Lloyd’s encounter with these Greek musicians several years ago. On Friday, April 25, Lloyd performs with his New Quartet (drummer Eric Harland, pianist Gerald Clayton, and bassist Reuben Rogers), and on Saturday, April 26 with Harland, Rogers, guitarist Bill Frisell, and Greg Leisz on lap steel guitar and dobro. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-wild-man-in-winter/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10563161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\" alt=\"Head of Passes\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/h3>\n\u003ch3>‘Head of Passes’\u003c/h3>\n\u003cp>Before he’d even turned 30, playwright Tarell Alvin McCraney made a huge splash in the Bay Area in 2010 with the West Coast premiere of his trilogy, \u003cem>The Brother/Sister Plays \u003c/em> — one of them at Marin Theatre Company, one at Magic Theatre and one at American Conservatory Theater in an unprecedented cross-company collaboration. Five years later, McCraney is a MacArthur “Genius” grantee and a member of Chicago’s Steppenwolf Theatre Company, and he’s back with the West Coast premiere of \u003cem>Head of Passes\u003c/em>, which debuted at the latter theater in 2013. On a stormy night at the mouth of the Mississippi River, the troubled matriarch Shelah gathers her family for a birthday celebration that turns to catastrophe when the roof caves in. McCraney has a second production, \u003cem>Choir Boy\u003c/em>, premiering June 4 at the Marin Theatre Company. \u003ca href=\"http://ww2.kqed.org/arts/2015/04/11/asking-why-bad-things-happen-to-good-people/\" target=\"_blank\" rel=\"noopener\">Read more from Cy Musiker on the playwright here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/head-of-passes/\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-400x225.jpg\" alt=\"Fantastic Negrito (Photo: Eric Taylor, courtesy of the artist)\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Fantastic Negrito\u003c/h3>\n\u003cp>Talk about your fresh starts. Fantastic Negrito, the stage name for the musical output of Oakland’s Xavier Dphrepaulezz, could teach a master class on self-reinvention: One of 15 children, the singer and musician bounced between foster homes as a teenager, and as an adult has bounced back from near-death experiences, car crashes, a $1 million major-label record deal gone awry, you name it. His latest rebirth? After winning NPR’s first-ever Tiny Desk Concert contest, Fantastic Negrito continues to live up to the considerable hype, wowing crowds at South by Southwest with his wholly unique blend of Delta blues, Memphis soul, and Oakland funk — so it’s no wonder he’s graduated from street busking (though Colonial Donuts on Grand in Oakland is still a favorite spot) to headlining stages. This show’s pre-sale is long sold out, but there will be tickets at the door for those who want to see a rising star on his way to the top. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Read more on Fantastic Negrito from Max Savage Levenson here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10563294 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\" alt=\"Lawrence-thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Journey to Jacob Lawrence’s ‘Promised Land’ at the Cantor\u003c/h3>\n\u003cp>Marking a gift to the Cantor from the Kayden Family, \u003ci>Promised Land\u003c/i> celebrates the life and work of Jacob Lawrence, leading painter of the 20th-century African American experience. The exhibition showcases paintings, drawings, prints and an illustrated book spanning over fifty years of Lawrence’s career. This collection, made public and exhibited together for the first time, represents a major resource for the research, study and appreciation of Lawrence’s dynamic and commanding work. \u003ca href=\"http://ww2.kqed.org/arts/2015/03/28/the-strange-and-beautiful-world-of-jacob-lawrence/\" target=\"_blank\" rel=\"noopener\">Read more from Sarah Hotchkiss on the exhibit here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/promised-land-jacob-lawrence-at-the-cantor-2/\" target=\"_blank\" rel=\"noopener\">details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-400x225.jpg\" alt=\"Mikal Cronin \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Mikal Cronin\u003c/h3>\n\u003cp>The next time someone tells you San Francisco’s garage-rock scene ain’t what it used to be, point them toward \u003ca href=\"https://www.facebook.com/Music.MikalCronin\" target=\"_blank\" rel=\"noopener\">Mikal Cronin\u003c/a>. Sure, it may be nearly impossible for a musician to afford a place with an actual garage in the city these days, but that hasn’t stopped Cronin, a multi-instrumentalist with an ear for grungey power-pop tinged with psychedelic and punk hues, from crafting the kind of songs that get into your head and don’t leave for hours. Once known mainly as Ty Segall’s sideman, Cronin — who played nearly everything on his forthcoming album, \u003cem>MCIII\u003c/em>, including guitar, bass, drums, piano, organs, tzouras, and saxophone, in addition to arranging the strings — has earned his spot in the limelight over the past five years with his earnest brand of songwriting and dynamic live performances. This hometown show at the Independent kicks off a West Coast tour leading up to the record’s May 5 release, after which we can only expect Cronin to play bigger venues here in the Bay. Catch him in a cozy room while you can. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mikal-cronin/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-e1429151901808.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" alignright wp-image-10563423 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-400x225.jpg\" alt=\"bandaloop\" width=\"400\" height=\"225\">\u003c/a>Campanile Centennial: Bandaloop Performance\u003c/h3>\n\u003cp>When it comes to instantly-recognizable Berkeley figures, few stand as tall — or as stoically — as UC Berkeley’s famed Campanile, whose full name is the Jane K. Sather Tower. In recognition of the 307-foot campus icon’s 100th birthday, the university is throwing a yearlong party, with events throughout 2015. This weekend, daring vertical dancers from local aerial performance company Bandaloop will turn the bell tower’s surfaces into a stage as they leap, pirouette, and careen through the air during two free afternoon performances, at 2:00 and 4:00pm. Leave this one to the pros — especially if you get vertigo. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/20/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast/\" target=\"_blank\" rel=\"noopener\">Watch Bandaloop on the cliffs of Marin here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/campanile-centennial-bandaloop-performance/\">details on the Sather Tower performance here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565341 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-400x225.jpg\" alt=\"omar sosa thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Omar Sosa\u003c/h3>\n\u003cp>With a jazz background that touches on the African diaspora worldwide — from Cuba to Brazil, from Ecuador to Barcelona — seven-time Grammy Award-winning pianist-composer-bandleader Omar Sosa embodies the spirit of global music. Blending modern electronic elements with the soulful sounds born of his formative years in Havana in the late ’80s and early ’90s, his Quarteto Afro-Cubano weaves an exhilarating path through geography, history and culture. They’ll perform twice each evening (at 8pm and 10pm) on both Friday, April 17 and Saturday, April 18. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/omar-sosa/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565202 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-400x225.jpg\" alt=\"Charles Lloyd (Photo: D. Darr) \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Charles-Lloyd_2_Credit-D.-Darr-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Charles Lloyd\u003c/h3>\n\u003cp>Ever since his early gigs as a bandleader playing Bill Graham-produced shows at the Fillmore — as well as his star-making \u003ca href=\"https://www.youtube.com/watch?v=qOGqAvElCAs\" target=\"_blank\" rel=\"noopener\">1966 appearance at the Monterey Jazz Festival\u003c/a> (with his epochal quartet featuring pianist Keith Jarrett, bassist Cecil McBee and drummer Jack DeJohnette) — tenor saxophonist and flutist Charles Lloyd has found an avid audience in the Bay Area. At 77, he’s as passionately expressive as ever, and still forging creative ties with artists who can take him into uncharted realms. Opening a four-night run at SFJAZZ, Lloyd celebrates the release of a stellar new album \u003cem>Wild Man Dance Suite\u003c/em> (Blue Note). On April 23 and 24, his New Quartet is joined by lyra virtuoso Sokratis Sinopoulos and Miklos Lucacs on the Hungarian Gypsy cimbalom (hammered dulcimer), who help bring to life music inspired by Lloyd’s encounter with these Greek musicians several years ago. On Friday, April 25, Lloyd performs with his New Quartet (drummer Eric Harland, pianist Gerald Clayton, and bassist Reuben Rogers), and on Saturday, April 26 with Harland, Rogers, guitarist Bill Frisell, and Greg Leisz on lap steel guitar and dobro. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-wild-man-in-winter/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10563161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg\" alt=\"Head of Passes\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/headofpassesthumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/h3>\n\u003ch3>‘Head of Passes’\u003c/h3>\n\u003cp>Before he’d even turned 30, playwright Tarell Alvin McCraney made a huge splash in the Bay Area in 2010 with the West Coast premiere of his trilogy, \u003cem>The Brother/Sister Plays \u003c/em> — one of them at Marin Theatre Company, one at Magic Theatre and one at American Conservatory Theater in an unprecedented cross-company collaboration. Five years later, McCraney is a MacArthur “Genius” grantee and a member of Chicago’s Steppenwolf Theatre Company, and he’s back with the West Coast premiere of \u003cem>Head of Passes\u003c/em>, which debuted at the latter theater in 2013. On a stormy night at the mouth of the Mississippi River, the troubled matriarch Shelah gathers her family for a birthday celebration that turns to catastrophe when the roof caves in. McCraney has a second production, \u003cem>Choir Boy\u003c/em>, premiering June 4 at the Marin Theatre Company. \u003ca href=\"http://ww2.kqed.org/arts/2015/04/11/asking-why-bad-things-happen-to-good-people/\" target=\"_blank\" rel=\"noopener\">Read more from Cy Musiker on the playwright here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/head-of-passes/\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-400x225.jpg\" alt=\"Fantastic Negrito (Photo: Eric Taylor, courtesy of the artist)\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/fantastic-negritothumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Fantastic Negrito\u003c/h3>\n\u003cp>Talk about your fresh starts. Fantastic Negrito, the stage name for the musical output of Oakland’s Xavier Dphrepaulezz, could teach a master class on self-reinvention: One of 15 children, the singer and musician bounced between foster homes as a teenager, and as an adult has bounced back from near-death experiences, car crashes, a $1 million major-label record deal gone awry, you name it. His latest rebirth? After winning NPR’s first-ever Tiny Desk Concert contest, Fantastic Negrito continues to live up to the considerable hype, wowing crowds at South by Southwest with his wholly unique blend of Delta blues, Memphis soul, and Oakland funk — so it’s no wonder he’s graduated from street busking (though Colonial Donuts on Grand in Oakland is still a favorite spot) to headlining stages. This show’s pre-sale is long sold out, but there will be tickets at the door for those who want to see a rising star on his way to the top. \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Read more on Fantastic Negrito from Max Savage Levenson here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10563294 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg\" alt=\"Lawrence-thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lawrence-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Journey to Jacob Lawrence’s ‘Promised Land’ at the Cantor\u003c/h3>\n\u003cp>Marking a gift to the Cantor from the Kayden Family, \u003ci>Promised Land\u003c/i> celebrates the life and work of Jacob Lawrence, leading painter of the 20th-century African American experience. The exhibition showcases paintings, drawings, prints and an illustrated book spanning over fifty years of Lawrence’s career. This collection, made public and exhibited together for the first time, represents a major resource for the research, study and appreciation of Lawrence’s dynamic and commanding work. \u003ca href=\"http://ww2.kqed.org/arts/2015/03/28/the-strange-and-beautiful-world-of-jacob-lawrence/\" target=\"_blank\" rel=\"noopener\">Read more from Sarah Hotchkiss on the exhibit here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/promised-land-jacob-lawrence-at-the-cantor-2/\" target=\"_blank\" rel=\"noopener\">details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10563168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-400x225.jpg\" alt=\"Mikal Cronin \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/mikal_cronin1_by_myles_pettengill_thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Mikal Cronin\u003c/h3>\n\u003cp>The next time someone tells you San Francisco’s garage-rock scene ain’t what it used to be, point them toward \u003ca href=\"https://www.facebook.com/Music.MikalCronin\" target=\"_blank\" rel=\"noopener\">Mikal Cronin\u003c/a>. Sure, it may be nearly impossible for a musician to afford a place with an actual garage in the city these days, but that hasn’t stopped Cronin, a multi-instrumentalist with an ear for grungey power-pop tinged with psychedelic and punk hues, from crafting the kind of songs that get into your head and don’t leave for hours. Once known mainly as Ty Segall’s sideman, Cronin — who played nearly everything on his forthcoming album, \u003cem>MCIII\u003c/em>, including guitar, bass, drums, piano, organs, tzouras, and saxophone, in addition to arranging the strings — has earned his spot in the limelight over the past five years with his earnest brand of songwriting and dynamic live performances. This hometown show at the Independent kicks off a West Coast tour leading up to the record’s May 5 release, after which we can only expect Cronin to play bigger venues here in the Bay. Catch him in a cozy room while you can. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mikal-cronin/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-e1429151901808.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" alignright wp-image-10563423 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/bandaloop-400x225.jpg\" alt=\"bandaloop\" width=\"400\" height=\"225\">\u003c/a>Campanile Centennial: Bandaloop Performance\u003c/h3>\n\u003cp>When it comes to instantly-recognizable Berkeley figures, few stand as tall — or as stoically — as UC Berkeley’s famed Campanile, whose full name is the Jane K. Sather Tower. In recognition of the 307-foot campus icon’s 100th birthday, the university is throwing a yearlong party, with events throughout 2015. This weekend, daring vertical dancers from local aerial performance company Bandaloop will turn the bell tower’s surfaces into a stage as they leap, pirouette, and careen through the air during two free afternoon performances, at 2:00 and 4:00pm. Leave this one to the pros — especially if you get vertigo. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/20/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast/\" target=\"_blank\" rel=\"noopener\">Watch Bandaloop on the cliffs of Marin here\u003c/a>, and find \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/campanile-centennial-bandaloop-performance/\">details on the Sather Tower performance here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10565341 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-400x225.jpg\" alt=\"omar sosa thumb\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/omar-sosa-thumb-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Omar Sosa\u003c/h3>\n\u003cp>With a jazz background that touches on the African diaspora worldwide — from Cuba to Brazil, from Ecuador to Barcelona — seven-time Grammy Award-winning pianist-composer-bandleader Omar Sosa embodies the spirit of global music. Blending modern electronic elements with the soulful sounds born of his formative years in Havana in the late ’80s and early ’90s, his Quarteto Afro-Cubano weaves an exhilarating path through geography, history and culture. They’ll perform twice each evening (at 8pm and 10pm) on both Friday, April 17 and Saturday, April 18. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/omar-sosa/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here. \u003c/a>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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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
},
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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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}
},
"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/",
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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"
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},
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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