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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.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/20150327tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>‘Beyond the Blues: Ending the Prison-Industrial Complex’\u003c/h3>\n\u003cp>For the past month, esteemed San Francisco bassist and composer Marcus Shelby has engaged audiences in a series of discussions about the criminal justice system and music as a tool for social change — especially as it relates to disproportionate incarceration of black males in the prison-industrial complex. In support of restorative justice and art as a tool for reform, Shelby and his quartet close the \u003cem>Beyond the Blues: Ending the Prison Industrial Complex \u003c/em> series with a performance at the Red Poppy Art House on Friday. But we haven’t heard the last of Shelby on the issue of incarceration just yet; he’s preparing a new piece, titled “Beyond the Blues: A Prison Oratorio,” to be premiered at the Yerba Buena Gardens Festival (whose lineup was \u003ca href=\"http://ybgfestival.org/events/\" target=\"_blank\" rel=\"noopener\">just announced this week\u003c/a>) in September. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/beyond-the-blues-ending-the-prison-industrial-complex/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-400x225.jpg\" alt=\"The Demo\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10479825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘The Demo’\u003c/h3>\n\u003cp>A fantastic staging of digital prescience, \u003cem>The Demo\u003c/em> offers a multimedia reimagining of Douglas Engelbart’s mind-blowing 1968 demonstration of early computer technology, a.k.a. “The Mother of All Demos.” In an age when computers were basically huge number-crunchers, Englebart and his collaborators predicted the mouse, video conferencing, hypertext, on-screen collaboration and more. This innovative music/theater work was created by composers Mikel Rouse and Ben Neill, and directed by Bob McGrath for Stanford Live. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Zaakir-400x216.jpg\" alt=\"Zaakir\" width=\"400\" height=\"216\" class=\"alignright size-thumbnail wp-image-10507479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir-400x216.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir-320x172.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Zakir Hussain Residency\u003c/h3>\n\u003cp>Watching Zakir Hussain’s hands on the tablas is like trying to watch a hummingbird’s wings — you simply just can’t keep up. And for years, the Indian-born master of the instrument has delighted in performing with artists in others genres, most notably with jazz titan Charles Lloyd. For his stint at SFJAZZ, Hussain settles in with Celtic Connections for an Indian-Irish cross-pollination that’s sure to be imaginative, and then spends two nights with the bafflingly inventive West African guitarist Lionel Louke, who spent several years in Herbie Hancock’s group and who often steals the show. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/zakir-hussain-residency/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/EightyOne.jpg\" alt=\"BOdies of Technology\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10485644\">‘Bodies of Technology’\u003c/h3>\n\u003cp>Ballet San Jose presents \u003cem>Bodies of Technology\u003c/em>, an inventive contemporary ballet program that explores the growing intimacy between humans and our technology — most evident in the prevalence of wearable gadgets, smartphones, and social media. For three days, movement, art, music, and technology converge in world premieres of \u003cem>This Might Be True\u003c/em> and \u003cem>User’s Manual\u003c/em>, choreographed by Yuri Zhukov and Amy Seiwert, in addition to a performance of Jessica Lange’s \u003cem>Eighty One\u003c/em>. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bodies-of-technology/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Twerps-400x225.jpg\" alt=\"Twerps\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10507488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Twerps\u003c/h3>\n\u003cp>Australia’s got more than \u003ca href=\"http://www.ibtimes.com/what-igloo-australia-azealia-banks-slams-iggy-azalea-apparent-silence-ferguson-eric-1734858\" target=\"_blank\" rel=\"noopener\">tour-cancelling Igloos\u003c/a> going on these days — to be precise, the Land Down Under boasts the jangly pop of Melbourne foursome Twerps, whose newest album \u003cem>Range Anxiety\u003c/em> has been garnering attention around the globe for its simple melodies and sunshiny riffs. Appearing with the band at the Bottom of the Hill is White Fence, founded by psych-rock wizard Tim Presley in San Francisco and moved, as many local bands have as of late, to Los Angeles. (Twerps, White Fence, Sheer Mag, Peach Kelli Pop and Tony Molina also play what’s \u003ca href=\"https://www.facebook.com/events/1523939821220305/\" target=\"_blank\" rel=\"noopener\">sure to be a wild show in Santa Rosa on March 31\u003c/a>.) \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/twerps/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>‘Beyond the Blues: Ending the Prison-Industrial Complex’\u003c/h3>\n\u003cp>For the past month, esteemed San Francisco bassist and composer Marcus Shelby has engaged audiences in a series of discussions about the criminal justice system and music as a tool for social change — especially as it relates to disproportionate incarceration of black males in the prison-industrial complex. In support of restorative justice and art as a tool for reform, Shelby and his quartet close the \u003cem>Beyond the Blues: Ending the Prison Industrial Complex \u003c/em> series with a performance at the Red Poppy Art House on Friday. But we haven’t heard the last of Shelby on the issue of incarceration just yet; he’s preparing a new piece, titled “Beyond the Blues: A Prison Oratorio,” to be premiered at the Yerba Buena Gardens Festival (whose lineup was \u003ca href=\"http://ybgfestival.org/events/\" target=\"_blank\" rel=\"noopener\">just announced this week\u003c/a>) in September. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/beyond-the-blues-ending-the-prison-industrial-complex/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-400x225.jpg\" alt=\"The Demo\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10479825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_byValerieOliveiro.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘The Demo’\u003c/h3>\n\u003cp>A fantastic staging of digital prescience, \u003cem>The Demo\u003c/em> offers a multimedia reimagining of Douglas Engelbart’s mind-blowing 1968 demonstration of early computer technology, a.k.a. “The Mother of All Demos.” In an age when computers were basically huge number-crunchers, Englebart and his collaborators predicted the mouse, video conferencing, hypertext, on-screen collaboration and more. This innovative music/theater work was created by composers Mikel Rouse and Ben Neill, and directed by Bob McGrath for Stanford Live. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Zaakir-400x216.jpg\" alt=\"Zaakir\" width=\"400\" height=\"216\" class=\"alignright size-thumbnail wp-image-10507479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir-400x216.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Zaakir-320x172.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Zakir Hussain Residency\u003c/h3>\n\u003cp>Watching Zakir Hussain’s hands on the tablas is like trying to watch a hummingbird’s wings — you simply just can’t keep up. And for years, the Indian-born master of the instrument has delighted in performing with artists in others genres, most notably with jazz titan Charles Lloyd. For his stint at SFJAZZ, Hussain settles in with Celtic Connections for an Indian-Irish cross-pollination that’s sure to be imaginative, and then spends two nights with the bafflingly inventive West African guitarist Lionel Louke, who spent several years in Herbie Hancock’s group and who often steals the show. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/zakir-hussain-residency/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/EightyOne.jpg\" alt=\"BOdies of Technology\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10485644\">‘Bodies of Technology’\u003c/h3>\n\u003cp>Ballet San Jose presents \u003cem>Bodies of Technology\u003c/em>, an inventive contemporary ballet program that explores the growing intimacy between humans and our technology — most evident in the prevalence of wearable gadgets, smartphones, and social media. For three days, movement, art, music, and technology converge in world premieres of \u003cem>This Might Be True\u003c/em> and \u003cem>User’s Manual\u003c/em>, choreographed by Yuri Zhukov and Amy Seiwert, in addition to a performance of Jessica Lange’s \u003cem>Eighty One\u003c/em>. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bodies-of-technology/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Twerps-400x225.jpg\" alt=\"Twerps\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10507488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Twerps-320x180.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">Twerps\u003c/h3>\n\u003cp>Australia’s got more than \u003ca href=\"http://www.ibtimes.com/what-igloo-australia-azealia-banks-slams-iggy-azalea-apparent-silence-ferguson-eric-1734858\" target=\"_blank\" rel=\"noopener\">tour-cancelling Igloos\u003c/a> going on these days — to be precise, the Land Down Under boasts the jangly pop of Melbourne foursome Twerps, whose newest album \u003cem>Range Anxiety\u003c/em> has been garnering attention around the globe for its simple melodies and sunshiny riffs. Appearing with the band at the Bottom of the Hill is White Fence, founded by psych-rock wizard Tim Presley in San Francisco and moved, as many local bands have as of late, to Los Angeles. (Twerps, White Fence, Sheer Mag, Peach Kelli Pop and Tony Molina also play what’s \u003ca href=\"https://www.facebook.com/events/1523939821220305/\" target=\"_blank\" rel=\"noopener\">sure to be a wild show in Santa Rosa on March 31\u003c/a>.) \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/twerps/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003ch5>\u003cstrong>\u003cem>LANGUAGE ADVISORY: This video contains language some may find offensive.\u003c/em>\u003c/strong>\u003c/h5>\n\u003cp>Anyone paying attention to rap in the Bay Area has encountered the acronym HBK, shorthand for \u003ca href=\"http://www.hbkgang.com/\" target=\"_blank\" rel=\"noopener\">Heartbreak Kids\u003c/a>, the prolific hip-hop collective founded in Richmond that’s slowly but surely sprawling out to the wider world. After bursting into national consciousness with “\u003ca href=\"https://www.youtube.com/watch?v=X8LUd51IuiA\" target=\"_blank\" rel=\"noopener\">Gas Pedal\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-I-YY5p0uq8\" target=\"_blank\" rel=\"noopener\">Red Nose\u003c/a>,” two enormous radio hits from Sage the Gemini, the collective recently held its annual HBK Day in San Francisco to celebrate the newest release from Iamsu!, the \u003ca href=\"https://www.youtube.com/watch?v=1mr1Z16ya7A\" target=\"_blank\" rel=\"noopener\">\u003cem>Eyes on Me\u003c/em>\u003c/a> EP.\u003c/p>\n\u003cp>Movements and collectives in Bay Area hip-hop come and go, but HBK, founded in 2008, has shown the same staying power as other local collectives like \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Heiroglyphics\u003c/a> or \u003ca href=\"http://www.solesides.com/\" target=\"_blank\" rel=\"noopener\">Quannum\u003c/a>. (Last October, an HBK show at the 2,000-capacity Warfield Theater sold out so quickly that a second show was added.) Chalk it up to a strong work ethic and piles upon piles of talent in their roster, which includes P-Lo, Skipper, Kool John, CJ, Show Banga, Mani Draper, Rossi, and Jay Ant – as well as \u003ca href=\"http://www.kehlanimusic.com/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a>, Oakland’s fast-rising R&B star.\u003c/p>\n\u003cp>In the video above, hear Iamsu!, Show Banga and Mani Draper talk with KQED about HBK as a creative outlet, a force of talent and a positive movement for younger hip-hop fans who don’t see themselves reflected in mainstream culture. As Mani Draper puts it: “That’s why HBK is so important: because as a black male growing up in Richmond, if you don’t subscribe to this particular stance, you kind of get lost in this weird space of trying to fit in.”\u003c/p>\n\u003cp>Clearly, with a fan base that’s its \u003ca href=\"http://www.spin.com/bay-area-rap-revolution-hbk-gang-iamsu/\" target=\"_blank\" rel=\"noopener\">own creative community online\u003c/a>, HBK provides a place to fit in. “What I want to showcase for everyone coming out of the Bay Area,” says Iamsu!, “is that you can be your own person, and an artist, and stand on your own two feet and build something positive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "HBK Gang burst onto the national scene with the hits “Gas Pedal” and “Red Nose.” During a recent concert and in-store event to mark “HBK Day” and the release of a new EP, rapper IAMSU! and other members talked about their rise and their message.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch5>\u003cstrong>\u003cem>LANGUAGE ADVISORY: This video contains language some may find offensive.\u003c/em>\u003c/strong>\u003c/h5>\n\u003cp>Anyone paying attention to rap in the Bay Area has encountered the acronym HBK, shorthand for \u003ca href=\"http://www.hbkgang.com/\" target=\"_blank\" rel=\"noopener\">Heartbreak Kids\u003c/a>, the prolific hip-hop collective founded in Richmond that’s slowly but surely sprawling out to the wider world. After bursting into national consciousness with “\u003ca href=\"https://www.youtube.com/watch?v=X8LUd51IuiA\" target=\"_blank\" rel=\"noopener\">Gas Pedal\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-I-YY5p0uq8\" target=\"_blank\" rel=\"noopener\">Red Nose\u003c/a>,” two enormous radio hits from Sage the Gemini, the collective recently held its annual HBK Day in San Francisco to celebrate the newest release from Iamsu!, the \u003ca href=\"https://www.youtube.com/watch?v=1mr1Z16ya7A\" target=\"_blank\" rel=\"noopener\">\u003cem>Eyes on Me\u003c/em>\u003c/a> EP.\u003c/p>\n\u003cp>Movements and collectives in Bay Area hip-hop come and go, but HBK, founded in 2008, has shown the same staying power as other local collectives like \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Heiroglyphics\u003c/a> or \u003ca href=\"http://www.solesides.com/\" target=\"_blank\" rel=\"noopener\">Quannum\u003c/a>. (Last October, an HBK show at the 2,000-capacity Warfield Theater sold out so quickly that a second show was added.) Chalk it up to a strong work ethic and piles upon piles of talent in their roster, which includes P-Lo, Skipper, Kool John, CJ, Show Banga, Mani Draper, Rossi, and Jay Ant – as well as \u003ca href=\"http://www.kehlanimusic.com/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a>, Oakland’s fast-rising R&B star.\u003c/p>\n\u003cp>In the video above, hear Iamsu!, Show Banga and Mani Draper talk with KQED about HBK as a creative outlet, a force of talent and a positive movement for younger hip-hop fans who don’t see themselves reflected in mainstream culture. As Mani Draper puts it: “That’s why HBK is so important: because as a black male growing up in Richmond, if you don’t subscribe to this particular stance, you kind of get lost in this weird space of trying to fit in.”\u003c/p>\n\u003cp>Clearly, with a fan base that’s its \u003ca href=\"http://www.spin.com/bay-area-rap-revolution-hbk-gang-iamsu/\" target=\"_blank\" rel=\"noopener\">own creative community online\u003c/a>, HBK provides a place to fit in. “What I want to showcase for everyone coming out of the Bay Area,” says Iamsu!, “is that you can be your own person, and an artist, and stand on your own two feet and build something positive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Jose Musicians Advocate for Safer LGBTQ Spaces",
"headTitle": "San Jose Musicians Advocate for Safer LGBTQ Spaces | KQED",
"content": "\u003cp>Over the last six months, a movement has been underway in the South Bay to generate acceptance and provide safe spaces for LGBTQ musicians and fans.\u003c/p>\n\u003cp>San Jose’s \u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Think and Die Thinking Collective\u003c/a>, which was founded in 2012, has organized to help marginalized musicians advocate for themselves. Bean Kaloni Tupou, a founding member of Think and Die, explains that the typical bar show in San Jose can be a hostile environment for LGBTQ communities.\u003c/p>\n\u003cfigure id=\"attachment_10460954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Sign.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10460954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Sign.jpg\" alt=\"Screen shot of Back Bar's facebook post, 2015. (Courtesy: Richard Gutierrez)\" width=\"640\" height=\"656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-400x410.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-585x600.jpg 585w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-320x328.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot of Back Bar’s Facebook post, 2015. (Courtesy: Richard Gutierrez)\u003c/figcaption>\u003c/figure>\n\u003cp>In February of this year, members of the Collective met with the owner of the all-ages club at \u003ca href=\"https://www.facebook.com/pages/San-Jose-Rock-Shop-Official/277604725672624\" target=\"_blank\" rel=\"noopener\">San Jose Rock Shop\u003c/a> and neighboring \u003ca href=\"https://www.facebook.com/backbarsj\" target=\"_blank\" rel=\"noopener\">Back Bar\u003c/a> to discuss a controversial sign posted outside of the bar. In a picture posted on the bar’s \u003ca href=\"https://www.facebook.com/backbarsj\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, a handwritten message on a Back Bar sign reads, “Ladies… If you want a man to leave you alone at a bar, don’t tell him you have a boyfriend. They don’t care. Tell him you have a penis. Your [sic] welcome.”\u003c/p>\n\u003cp>This prompted San Jose musician Richard Gutierrez to write an open letter to San Jose Rock Shop and Back Bar on Facebook. Acknowledging the “trans / non gender-conforming folks who contribute to the San Jose music scene and have supported the Rock Shop since its inception,” Gutierrez stated, “what you are implying with that ‘joke’ is something very transphobic, hurtful and creating a dangerous space.”\u003c/p>\n\u003cp>Gutierrez continued, “I realize not everyone is well-versed in these issues and a lot of information about these topics have been suppressed throughout the years and allowed for stigmas to grow. I myself was never taught about these issues until much later.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gutierrez ended the letter with a call to action: “I hope you take this opportunity to learn and maybe step up as a great example to the community of making a mistake and truly owning it and attempting to better yourself and bring some light to this […] subject.”\u003c/p>\n\u003cp>Owner David Nevin quickly apologized, and wrote on Back Bar’s Facebook page: “Scroll down to see what I posted last night. It was thoughtless. I sincerely apologize for doing that without considering what it might mean to everyone. I almost just took the post down but am not sure if it’s better to leave up so that others can understand as well. I understand if this impacts friendships, but want to express that the nature of the post and where it was coming from was never intend[ed] to target or hurt anyone. We’ve been blessed for years to be able to work with and serve everyone of every walk. I wish I could take it back, but not know what it meant might be best to understand… although painfully public. Again, I am sincerely sorry for the post.”\u003c/p>\n\u003cp>On Feb. 9, Nevin met with four members of the Collective, including Richard Gutierrez, Mander Farrell, Bean Kaloni Tupou and Shannon Taylor Bortner. These musicians introduced \u003ca href=\"http://www.advocatesforyouth.org/\" target=\"_blank\" rel=\"noopener\">Advocates for Youth\u003c/a>’s definition of a safe space: “A place where anyone can relax and be fully self-expressed, without fear of being made to feel uncomfortable, unwelcome, or unsafe on account of biological sex, race/ethnicity, sexual orientation, gender identity or expression, cultural background, age, or physical or mental ability; a place where the rules guard each person’s self-respect and dignity and strongly encourage everyone to respect others.”\u003c/p>\n\u003cfigure id=\"attachment_10460956\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Closer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10460956 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Closer.jpg\" alt=\"Bean Kaloni Tupou playing at San Jose Rock Shop, 2015 (Photo: Adrienne Blaine)\" width=\"1100\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-320x213.jpg 320w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bean Kaloni Topou playing at San Jose Rock Shop, 2015. (Photo: Adrienne Blaine)\u003c/figcaption>\u003c/figure>\n\u003cp>“A safe space looks different to everyone. There are so many different identities that you can’t decide for everyone, all you can do is facilitate,” said Kaloni Tupou at a San Jose Rock Shop show she organized nearly a month later.\u003c/p>\n\u003cp>Also at the show, Gutierrez said, “It felt good to have that conversation with Dave, who was open to how he was unaware of certain ideas. I thought it was admirable.”\u003c/p>\n\u003cp>The incident wasn’t the first time the collective had been made aware of insensitivity to the LGBTQ community at an area venue. In September last year, at a now-defunct San Jose rock club, musician Mander Farrell was allegedly accosted by the club owner for using the “wrong” bathroom. After an argument ensued, Farrell’s band \u003ca href=\"http://bascom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bascom\u003c/a> opted not to play their scheduled set that night.\u003c/p>\n\u003cp>Anders Ericsson, drummer for the band \u003ca href=\"http://rexgoliath.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Rex Goliath\u003c/a>, who performed at the show, witnessed the argument. “The most salient emotion from that night,” Ericsson said later, “was a feeling of schism and alienation from our musical community.”\u003c/p>\n\u003cp>The incident motivated Ericsson and others to join the search for safer spaces in San Jose’s music scene. “Opening a discussion with venues and bands felt like the first step,” Ericsson said.\u003c/p>\n\u003cfigure id=\"attachment_10460957\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Patch.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10460957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Patch.jpg\" alt=\"Rex Halafihi at San Jose Rock Shop, 2015 (Photo: Adrienne Blaine)\" width=\"640\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch-320x481.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rex Halafihi at San Jose Rock Shop, 2015 (Photo: Adrienne Blaine)\u003c/figcaption>\u003c/figure>\n\u003cp>On its \u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Tumblr page\u003c/a>, the Collective wrote, “We want to reduce harm in the community spaces of San Jose instead of having to break ties time and time again.” As a relatively small community, San Jose musicians and coordinators have much to gain from honest dialogues.\u003c/p>\n\u003cp>As Kaloni Tupou and Gutierrez performed as \u003ca href=\"https://www.facebook.com/pages/Try-the-Pie/110742512309603?sk=timeline\" target=\"_blank\" rel=\"noopener\">Try the Pie\u003c/a>, at San Jose Rock Shop, they asked the audience to draw in closer. One crowd member who joined in was Rex Halafihi, who wore a backpack with a “trans-inclusive feminist” patch.\u003c/p>\n\u003cp>Halafihi, who moved to San Jose three months ago and is looking to start a band, has already felt like a part the community.\u003c/p>\n\u003cp>“This place,” Halafihi said, “is our little hub and home.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about the Think and Die Thinking Collective, visit their \u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Tumblr page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Over the last six months, a movement has been underway in the South Bay to generate acceptance and provide safe spaces for LGBTQ musicians and fans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last six months, a movement has been underway in the South Bay to generate acceptance and provide safe spaces for LGBTQ musicians and fans.\u003c/p>\n\u003cp>San Jose’s \u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Think and Die Thinking Collective\u003c/a>, which was founded in 2012, has organized to help marginalized musicians advocate for themselves. Bean Kaloni Tupou, a founding member of Think and Die, explains that the typical bar show in San Jose can be a hostile environment for LGBTQ communities.\u003c/p>\n\u003cfigure id=\"attachment_10460954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Sign.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10460954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Sign.jpg\" alt=\"Screen shot of Back Bar's facebook post, 2015. (Courtesy: Richard Gutierrez)\" width=\"640\" height=\"656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-400x410.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-585x600.jpg 585w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-320x328.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Sign-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot of Back Bar’s Facebook post, 2015. (Courtesy: Richard Gutierrez)\u003c/figcaption>\u003c/figure>\n\u003cp>In February of this year, members of the Collective met with the owner of the all-ages club at \u003ca href=\"https://www.facebook.com/pages/San-Jose-Rock-Shop-Official/277604725672624\" target=\"_blank\" rel=\"noopener\">San Jose Rock Shop\u003c/a> and neighboring \u003ca href=\"https://www.facebook.com/backbarsj\" target=\"_blank\" rel=\"noopener\">Back Bar\u003c/a> to discuss a controversial sign posted outside of the bar. In a picture posted on the bar’s \u003ca href=\"https://www.facebook.com/backbarsj\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, a handwritten message on a Back Bar sign reads, “Ladies… If you want a man to leave you alone at a bar, don’t tell him you have a boyfriend. They don’t care. Tell him you have a penis. Your [sic] welcome.”\u003c/p>\n\u003cp>This prompted San Jose musician Richard Gutierrez to write an open letter to San Jose Rock Shop and Back Bar on Facebook. Acknowledging the “trans / non gender-conforming folks who contribute to the San Jose music scene and have supported the Rock Shop since its inception,” Gutierrez stated, “what you are implying with that ‘joke’ is something very transphobic, hurtful and creating a dangerous space.”\u003c/p>\n\u003cp>Gutierrez continued, “I realize not everyone is well-versed in these issues and a lot of information about these topics have been suppressed throughout the years and allowed for stigmas to grow. I myself was never taught about these issues until much later.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gutierrez ended the letter with a call to action: “I hope you take this opportunity to learn and maybe step up as a great example to the community of making a mistake and truly owning it and attempting to better yourself and bring some light to this […] subject.”\u003c/p>\n\u003cp>Owner David Nevin quickly apologized, and wrote on Back Bar’s Facebook page: “Scroll down to see what I posted last night. It was thoughtless. I sincerely apologize for doing that without considering what it might mean to everyone. I almost just took the post down but am not sure if it’s better to leave up so that others can understand as well. I understand if this impacts friendships, but want to express that the nature of the post and where it was coming from was never intend[ed] to target or hurt anyone. We’ve been blessed for years to be able to work with and serve everyone of every walk. I wish I could take it back, but not know what it meant might be best to understand… although painfully public. Again, I am sincerely sorry for the post.”\u003c/p>\n\u003cp>On Feb. 9, Nevin met with four members of the Collective, including Richard Gutierrez, Mander Farrell, Bean Kaloni Tupou and Shannon Taylor Bortner. These musicians introduced \u003ca href=\"http://www.advocatesforyouth.org/\" target=\"_blank\" rel=\"noopener\">Advocates for Youth\u003c/a>’s definition of a safe space: “A place where anyone can relax and be fully self-expressed, without fear of being made to feel uncomfortable, unwelcome, or unsafe on account of biological sex, race/ethnicity, sexual orientation, gender identity or expression, cultural background, age, or physical or mental ability; a place where the rules guard each person’s self-respect and dignity and strongly encourage everyone to respect others.”\u003c/p>\n\u003cfigure id=\"attachment_10460956\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Closer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10460956 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Closer.jpg\" alt=\"Bean Kaloni Tupou playing at San Jose Rock Shop, 2015 (Photo: Adrienne Blaine)\" width=\"1100\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Closer-320x213.jpg 320w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bean Kaloni Topou playing at San Jose Rock Shop, 2015. (Photo: Adrienne Blaine)\u003c/figcaption>\u003c/figure>\n\u003cp>“A safe space looks different to everyone. There are so many different identities that you can’t decide for everyone, all you can do is facilitate,” said Kaloni Tupou at a San Jose Rock Shop show she organized nearly a month later.\u003c/p>\n\u003cp>Also at the show, Gutierrez said, “It felt good to have that conversation with Dave, who was open to how he was unaware of certain ideas. I thought it was admirable.”\u003c/p>\n\u003cp>The incident wasn’t the first time the collective had been made aware of insensitivity to the LGBTQ community at an area venue. In September last year, at a now-defunct San Jose rock club, musician Mander Farrell was allegedly accosted by the club owner for using the “wrong” bathroom. After an argument ensued, Farrell’s band \u003ca href=\"http://bascom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bascom\u003c/a> opted not to play their scheduled set that night.\u003c/p>\n\u003cp>Anders Ericsson, drummer for the band \u003ca href=\"http://rexgoliath.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Rex Goliath\u003c/a>, who performed at the show, witnessed the argument. “The most salient emotion from that night,” Ericsson said later, “was a feeling of schism and alienation from our musical community.”\u003c/p>\n\u003cp>The incident motivated Ericsson and others to join the search for safer spaces in San Jose’s music scene. “Opening a discussion with venues and bands felt like the first step,” Ericsson said.\u003c/p>\n\u003cfigure id=\"attachment_10460957\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Patch.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10460957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Patch.jpg\" alt=\"Rex Halafihi at San Jose Rock Shop, 2015 (Photo: Adrienne Blaine)\" width=\"640\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Patch-320x481.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rex Halafihi at San Jose Rock Shop, 2015 (Photo: Adrienne Blaine)\u003c/figcaption>\u003c/figure>\n\u003cp>On its \u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Tumblr page\u003c/a>, the Collective wrote, “We want to reduce harm in the community spaces of San Jose instead of having to break ties time and time again.” As a relatively small community, San Jose musicians and coordinators have much to gain from honest dialogues.\u003c/p>\n\u003cp>As Kaloni Tupou and Gutierrez performed as \u003ca href=\"https://www.facebook.com/pages/Try-the-Pie/110742512309603?sk=timeline\" target=\"_blank\" rel=\"noopener\">Try the Pie\u003c/a>, at San Jose Rock Shop, they asked the audience to draw in closer. One crowd member who joined in was Rex Halafihi, who wore a backpack with a “trans-inclusive feminist” patch.\u003c/p>\n\u003cp>Halafihi, who moved to San Jose three months ago and is looking to start a band, has already felt like a part the community.\u003c/p>\n\u003cp>“This place,” Halafihi said, “is our little hub and home.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn more about the Think and Die Thinking Collective, visit their \u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Tumblr page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-jose-kitchen-sessions-feed-the-soul-with-poetry-and-music",
"title": "Casual, DIY 'Kitchen Sessions' Provide Artistic Sustenance in San Jose",
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"headTitle": "Casual, DIY ‘Kitchen Sessions’ Provide Artistic Sustenance in San Jose | KQED",
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"content": "\u003cp>\u003cstrong>When \u003ca href=\"http://www.mikemcgee.net/\">Mighty Mike McGee\u003c/a>,\u003c/strong> the National and World Poetry Slam Grand Champion, and Benjamin Henderson, the lead singer of one of your favorite bands \u003ca href=\"http://www.brothergrand.com/\">Brother Grand\u003c/a>, invite you to their house for a potluck of poetry, music and food — well, you ask no questions and make it a date.\u003c/p>\n\u003cp>The event is called “Kitchen Session,” and the logo includes a guitar, a pen quill and a spork. The house rules are few, but strictly enforced: bring $3, a homemade dish to share, and your best attitude. The address is confidential to those invited who RSVP.\u003c/p>\n\u003cp>As it turns out, the house is near the core of downtown San Jose in a mellow neighborhood. It’s an unusually warm March evening, so there’s lots of people on the lawn and the front porch being respectfully quiet for neighbors. Entering the Victorian-inspired house, you see people hovering around tables full of homemade entrées, and being that it’s \u003ca href=\"http://en.wikipedia.org/wiki/Pi_Day\" target=\"_blank\" rel=\"noopener\">Pi Day\u003c/a>, there are lots of sweets to choose from. As you glance around, there are people in all corners of the living room, including a few sunk deep into the cushions of the couch beneath the ginormous Ben Alexi painting of a charging knight — a prized possession of Henderson’s. As you make your way towards the kitchen, you can hear McGee negotiating the signup list. It’s a full roster, so there will be two sessions tonight, each an hour long, each performer getting five minutes.\u003c/p>\n\u003cfigure id=\"attachment_10493010\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10493010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR.jpg\" alt=\"Kitchen Session hosts Benjamin Henderson and Mike McGee.\" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR-320x480.jpg 320w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kitchen Session hosts Benjamin Henderson and Mike McGee. \u003ccite>(photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the 40 people in the house, less than half can find a spot to stand or sit on the community cushion on the floor. The others line the narrow hallway from the front door to the kitchen, having a clear shot of McGee on the makeshift stage known as “the block.” McGee welcomes everyone and reminds us all to pitch in our $3 which goes towards the night’s featured poets: Jason Bayani and Kim Johnson.\u003c/p>\n\u003cp>The unfolding evening is highly entertaining and fulfilling. Within the first hour, there’s poetry, new songs, a young woman from Germany who performs her first poem written in English, a short story from the point of view (and voice) of a pug, and a very funny skit where Henderson tries to get a customer service rep (played by McGee) to correct a duplicate billing for a magazine subscription:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d love to help you sir…”\u003c/p>\n\u003cp>“LOVE?! What do you know about love?!!” yells Henderson at the phallic bottle opener filling in as a phone. (It was funny because we’ve all been there.)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>A few days later,\u003c/strong> I return to the house to talk with McGee and Henderson about Kitchen Sessions. The house is surprisingly airy with vaulted ceilings, hardwood floors and lots of natural light (and no sign of the jam-packed house just a day or so previous.)\u003c/p>\n\u003cp>McGee and Henderson are longtime friends, having met in early 2001 as their performance paths criss-crossed around San Jose. McGee was busy making a name for himself in the Bay Area as a rising star in the slam-poetry scene, and Henderson’s band at the time, Delta Activity, was as well-known for their progressive rock as they were for their gig posters that were wheat-pasted everywhere from San Francisco to Gilroy. McGee moved into the “Kitchen Session” house with Henderson and roommate David Ochoa last year after living in Worcester, MA and Portland, OR for a few years.\u003c/p>\n\u003cp>It didn’t take long for McGee to suggest to his roommates that he’d like to do a Kitchen Session out of their house. The original Kitchen Session began in 2009 while McGee was living in Worcester, MA. “Rent was cheap, but there was nothing to do, everything was far away — and I don’t drive. But there were a ton of poets locally, and poets that were traveling would contact me because no one knew who the local organizers were, so I thought they could come to my house. We held the readings in the kitchen because it was the biggest room in the house.” McGee managed 20 monthly Kitchen Session events in Worcester, and as he moved around the country, he would start up a Kitchen Session in whatever city he currently resided in. Many of those are still going, or else the idea has been adopted by fellow poets wanting it in their hometown.\u003c/p>\n\u003cfigure id=\"attachment_10492644\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DSCF2292.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10492644\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DSCF2292.jpg\" alt=\"Josephine von Blueten Staub from Halle, Germany at Kitchen Session.\" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DSCF2292.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DSCF2292-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DSCF2292-320x480.jpg 320w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Josephine von Blueten Staub from Halle, Germany at Kitchen Session. \u003ccite>(photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosting an event in your private residence has great benefits, but can also be unnerving. McGee sees the upside easily: “I get to practice my hosting in my own environment… 10 feet from where I sleep.” He admits, though, that there’s also a vulnerability; “If you see me mess up here, it’s embarrassing.”\u003c/p>\n\u003cp>For Henderson, the home venue is a necessity of convenience as he juggles his solo act, his band Brother Grand (with bassist/composer Endika) and a busy graphic design business: “It helps me personally, and in a way, spiritually. It helps me give back to my community. I can’t hang out in cafes all month shooting the shit, but I can chop it up with a bunch of people at my house there to hang out. My to-do list is massive, and I wouldn’t otherwise be making it out to all these poets’ and musicians’ performances.”\u003c/p>\n\u003cp>The hosts agree that the first three events have been wildly successful. They’ve paid their featured artists more than promised, and the level of talent has been top-notch. But as they see more regular faces, there’s a concern that it’ll become the usual crowd.\u003c/p>\n\u003cp>“As I see more regular people, I have a fear that this could very easily devolve into an open mic with the same 12 dudes,” Henderson says. But the two stay conscious of that possibility, and make sure that each Kitchen Session stays true to its original intention of performers debuting new works — and that the lineup represents a cross section of artistic disciplines. “I don’t want to just focus on poetry. I want a collective show of everything you can imagine: a poem, a song, a story, comedy and a skit,” says McGee of his ideal vision for the event. Henderson adds that the requirement of the works being new “connects the crowd to some creative strand that is not generally exposed,” and will keep the show fresh as well.\u003c/p>\n\u003cp>“It doesn’t need to grow,” Henderson says. “I felt an awesome pride in turning down (grant) money recently. Money can do nothing except make it worse. I see it as a sandbox… a soil starter to feed other things that are happening. There’s never enough things happening. We just need to maintain. We’re not profiting, there’s no other gain other than one night a month I get to be social and hang out and shoot the shit with a bunch of talented people and provide a place for the artists and performers to meet each other and pivot off into new friendships and hopefully new events.”\u003c/p>\n\u003cp>McGee and Henderson have committed themselves to the event being monthly, with a short break in the summer to accommodate their busy tour schedules. As more people find out about the event, the invitation list will become more critical and coveted. But as McGee says: “If you want to attend a Kitchen Session, find us and introduce yourself. We want to meet you!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=rVhOpB8cjYw]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>When \u003ca href=\"http://www.mikemcgee.net/\">Mighty Mike McGee\u003c/a>,\u003c/strong> the National and World Poetry Slam Grand Champion, and Benjamin Henderson, the lead singer of one of your favorite bands \u003ca href=\"http://www.brothergrand.com/\">Brother Grand\u003c/a>, invite you to their house for a potluck of poetry, music and food — well, you ask no questions and make it a date.\u003c/p>\n\u003cp>The event is called “Kitchen Session,” and the logo includes a guitar, a pen quill and a spork. The house rules are few, but strictly enforced: bring $3, a homemade dish to share, and your best attitude. The address is confidential to those invited who RSVP.\u003c/p>\n\u003cp>As it turns out, the house is near the core of downtown San Jose in a mellow neighborhood. It’s an unusually warm March evening, so there’s lots of people on the lawn and the front porch being respectfully quiet for neighbors. Entering the Victorian-inspired house, you see people hovering around tables full of homemade entrées, and being that it’s \u003ca href=\"http://en.wikipedia.org/wiki/Pi_Day\" target=\"_blank\" rel=\"noopener\">Pi Day\u003c/a>, there are lots of sweets to choose from. As you glance around, there are people in all corners of the living room, including a few sunk deep into the cushions of the couch beneath the ginormous Ben Alexi painting of a charging knight — a prized possession of Henderson’s. As you make your way towards the kitchen, you can hear McGee negotiating the signup list. It’s a full roster, so there will be two sessions tonight, each an hour long, each performer getting five minutes.\u003c/p>\n\u003cfigure id=\"attachment_10493010\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10493010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR.jpg\" alt=\"Kitchen Session hosts Benjamin Henderson and Mike McGee.\" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/McGee_Henderson_LR-320x480.jpg 320w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kitchen Session hosts Benjamin Henderson and Mike McGee. \u003ccite>(photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the 40 people in the house, less than half can find a spot to stand or sit on the community cushion on the floor. The others line the narrow hallway from the front door to the kitchen, having a clear shot of McGee on the makeshift stage known as “the block.” McGee welcomes everyone and reminds us all to pitch in our $3 which goes towards the night’s featured poets: Jason Bayani and Kim Johnson.\u003c/p>\n\u003cp>The unfolding evening is highly entertaining and fulfilling. Within the first hour, there’s poetry, new songs, a young woman from Germany who performs her first poem written in English, a short story from the point of view (and voice) of a pug, and a very funny skit where Henderson tries to get a customer service rep (played by McGee) to correct a duplicate billing for a magazine subscription:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d love to help you sir…”\u003c/p>\n\u003cp>“LOVE?! What do you know about love?!!” yells Henderson at the phallic bottle opener filling in as a phone. (It was funny because we’ve all been there.)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>A few days later,\u003c/strong> I return to the house to talk with McGee and Henderson about Kitchen Sessions. The house is surprisingly airy with vaulted ceilings, hardwood floors and lots of natural light (and no sign of the jam-packed house just a day or so previous.)\u003c/p>\n\u003cp>McGee and Henderson are longtime friends, having met in early 2001 as their performance paths criss-crossed around San Jose. McGee was busy making a name for himself in the Bay Area as a rising star in the slam-poetry scene, and Henderson’s band at the time, Delta Activity, was as well-known for their progressive rock as they were for their gig posters that were wheat-pasted everywhere from San Francisco to Gilroy. McGee moved into the “Kitchen Session” house with Henderson and roommate David Ochoa last year after living in Worcester, MA and Portland, OR for a few years.\u003c/p>\n\u003cp>It didn’t take long for McGee to suggest to his roommates that he’d like to do a Kitchen Session out of their house. The original Kitchen Session began in 2009 while McGee was living in Worcester, MA. “Rent was cheap, but there was nothing to do, everything was far away — and I don’t drive. But there were a ton of poets locally, and poets that were traveling would contact me because no one knew who the local organizers were, so I thought they could come to my house. We held the readings in the kitchen because it was the biggest room in the house.” McGee managed 20 monthly Kitchen Session events in Worcester, and as he moved around the country, he would start up a Kitchen Session in whatever city he currently resided in. Many of those are still going, or else the idea has been adopted by fellow poets wanting it in their hometown.\u003c/p>\n\u003cfigure id=\"attachment_10492644\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DSCF2292.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10492644\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DSCF2292.jpg\" alt=\"Josephine von Blueten Staub from Halle, Germany at Kitchen Session.\" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DSCF2292.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DSCF2292-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DSCF2292-320x480.jpg 320w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Josephine von Blueten Staub from Halle, Germany at Kitchen Session. \u003ccite>(photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosting an event in your private residence has great benefits, but can also be unnerving. McGee sees the upside easily: “I get to practice my hosting in my own environment… 10 feet from where I sleep.” He admits, though, that there’s also a vulnerability; “If you see me mess up here, it’s embarrassing.”\u003c/p>\n\u003cp>For Henderson, the home venue is a necessity of convenience as he juggles his solo act, his band Brother Grand (with bassist/composer Endika) and a busy graphic design business: “It helps me personally, and in a way, spiritually. It helps me give back to my community. I can’t hang out in cafes all month shooting the shit, but I can chop it up with a bunch of people at my house there to hang out. My to-do list is massive, and I wouldn’t otherwise be making it out to all these poets’ and musicians’ performances.”\u003c/p>\n\u003cp>The hosts agree that the first three events have been wildly successful. They’ve paid their featured artists more than promised, and the level of talent has been top-notch. But as they see more regular faces, there’s a concern that it’ll become the usual crowd.\u003c/p>\n\u003cp>“As I see more regular people, I have a fear that this could very easily devolve into an open mic with the same 12 dudes,” Henderson says. But the two stay conscious of that possibility, and make sure that each Kitchen Session stays true to its original intention of performers debuting new works — and that the lineup represents a cross section of artistic disciplines. “I don’t want to just focus on poetry. I want a collective show of everything you can imagine: a poem, a song, a story, comedy and a skit,” says McGee of his ideal vision for the event. Henderson adds that the requirement of the works being new “connects the crowd to some creative strand that is not generally exposed,” and will keep the show fresh as well.\u003c/p>\n\u003cp>“It doesn’t need to grow,” Henderson says. “I felt an awesome pride in turning down (grant) money recently. Money can do nothing except make it worse. I see it as a sandbox… a soil starter to feed other things that are happening. There’s never enough things happening. We just need to maintain. We’re not profiting, there’s no other gain other than one night a month I get to be social and hang out and shoot the shit with a bunch of talented people and provide a place for the artists and performers to meet each other and pivot off into new friendships and hopefully new events.”\u003c/p>\n\u003cp>McGee and Henderson have committed themselves to the event being monthly, with a short break in the summer to accommodate their busy tour schedules. As more people find out about the event, the invitation list will become more critical and coveted. But as McGee says: “If you want to attend a Kitchen Session, find us and introduce yourself. We want to meet you!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best songs that made their way through the blogs last month. \u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/March_2015_Best_of_Blogs.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>So far, 2015 is on pace to be one of the better pop music years in recent memory (2009 is still reigning champ). This past month we’ve seen new singles from Waxahatchee, Courtney Barnett and Lord Huron. This episode gives a taste of all the great music released over the past four weeks. Dig into the monthly best of the blogs. \u003c/p>\n\u003cp>Enjoy the episode!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Web” — Thee Oh Sees, \u003ci>Mutilator Defeated At Last\u003c/i>\u003c/li>\n\u003cli>“Ratchet Commandments” — Tink, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Under A Rock” — Waxahatchee, \u003ci>Ivy Tripp\u003c/i>\u003c/li>\n\u003cli>“Behind The Couch” — n e s s \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Fool For Love” — Lord Huron, \u003ci>Strange Trails\u003c/i>\u003c/li>\n\u003cli>”Depreston” — Courtney Barnett, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>”Dissolve” — Absofacto, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>”First Light” — Django Django, \u003ci>Born Under Saturn\u003c/i>\u003c/li>\n\u003cli>“Sagres” — Tallest Man on Earth, \u003ci>Dark Bird Is Home\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best songs that made their way through the blogs last month. \u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/March_2015_Best_of_Blogs.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>So far, 2015 is on pace to be one of the better pop music years in recent memory (2009 is still reigning champ). This past month we’ve seen new singles from Waxahatchee, Courtney Barnett and Lord Huron. This episode gives a taste of all the great music released over the past four weeks. Dig into the monthly best of the blogs. \u003c/p>\n\u003cp>Enjoy the episode!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Web” — Thee Oh Sees, \u003ci>Mutilator Defeated At Last\u003c/i>\u003c/li>\n\u003cli>“Ratchet Commandments” — Tink, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Under A Rock” — Waxahatchee, \u003ci>Ivy Tripp\u003c/i>\u003c/li>\n\u003cli>“Behind The Couch” — n e s s \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Fool For Love” — Lord Huron, \u003ci>Strange Trails\u003c/i>\u003c/li>\n\u003cli>”Depreston” — Courtney Barnett, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>”Dissolve” — Absofacto, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>”First Light” — Django Django, \u003ci>Born Under Saturn\u003c/i>\u003c/li>\n\u003cli>“Sagres” — Tallest Man on Earth, \u003ci>Dark Bird Is Home\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Earlier this month, Oakland’s 40th Street vinyl outpost 1-2-3-4 Go! Records \u003ca href=\"http://1234gorecords.com/news/2015/3/5/san-francisco-location-coming-in-april\" target=\"_blank\" rel=\"noopener\">cryptically announced a forthcoming San Francisco location\u003c/a> — with no address given — but now it can be told: that address will be shared with Lost Weekend Video, the Valencia Street video rental store and all-around beloved community hub.\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.lostweekendvideo.com/lost-weekend-project-overview\" target=\"_blank\" rel=\"noopener\">announcement on their site\u003c/a> Tuesday, Lost Weekend explained that while it faced near-certain closure on May 1 due to a rent increase in February, “We’ve talked to surviving stores across the country to learn what has worked best for them and after adding a few of our own innovations, we’ve come up with a new model for a now 21st Century video store.”\u003c/p>\n\u003cp>That involves a relaunch of the Valencia Street store in partnership with 1-2-3-4 Go! on April 18, when the two join as a combination video store / record store. It also means a searchable catalog online of Lost Weekend’s films; home delivery services; memberships and other 21st-century changes on operations. Lastly, it calls for an East Bay opening of the \u003ca href=\"http://www.lostweekendvideo.com/cinecavecomedy/\" target=\"_blank\" rel=\"noopener\">the Cinecave\u003c/a>, the comedy club booked by \u003ca href=\"http://www.sfweekly.com/shookdown/2015/03/09/music-heroes-george-chen\" target=\"_blank\" rel=\"noopener\">the tireless George Chen\u003c/a> currently running in Lost Weekend’s basement; the Cinecave’s location in Oakland’s Uptown neighborhood promises “a carefully curated video rental store, with full access to our combined collection on both sides of the Bay, and a film-themed beer & wine bar” — with live comedy and entertainment seven nights a week.\u003c/p>\n\u003cp>Naturally, like so many other community institutions in peril, Lost Weekend is \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video\" target=\"_blank\" rel=\"noopener\">asking for help\u003c/a>. But as the Voltron-like forces combine with dueling photobooths and copies of \u003cem>The Bad News Bears\u003c/em> alongside \u003cem>24 Hour Revenge Therapy\u003c/em>, things are looking a little sunnier on Lost Weekend’s side of the street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Recently facing imminent closure, Mission District institution Lost Weekend Video announces an April 18 relauch with 1-2-3-4 Go! as a combination video rental / vinyl outlet.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, Oakland’s 40th Street vinyl outpost 1-2-3-4 Go! Records \u003ca href=\"http://1234gorecords.com/news/2015/3/5/san-francisco-location-coming-in-april\" target=\"_blank\" rel=\"noopener\">cryptically announced a forthcoming San Francisco location\u003c/a> — with no address given — but now it can be told: that address will be shared with Lost Weekend Video, the Valencia Street video rental store and all-around beloved community hub.\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.lostweekendvideo.com/lost-weekend-project-overview\" target=\"_blank\" rel=\"noopener\">announcement on their site\u003c/a> Tuesday, Lost Weekend explained that while it faced near-certain closure on May 1 due to a rent increase in February, “We’ve talked to surviving stores across the country to learn what has worked best for them and after adding a few of our own innovations, we’ve come up with a new model for a now 21st Century video store.”\u003c/p>\n\u003cp>That involves a relaunch of the Valencia Street store in partnership with 1-2-3-4 Go! on April 18, when the two join as a combination video store / record store. It also means a searchable catalog online of Lost Weekend’s films; home delivery services; memberships and other 21st-century changes on operations. Lastly, it calls for an East Bay opening of the \u003ca href=\"http://www.lostweekendvideo.com/cinecavecomedy/\" target=\"_blank\" rel=\"noopener\">the Cinecave\u003c/a>, the comedy club booked by \u003ca href=\"http://www.sfweekly.com/shookdown/2015/03/09/music-heroes-george-chen\" target=\"_blank\" rel=\"noopener\">the tireless George Chen\u003c/a> currently running in Lost Weekend’s basement; the Cinecave’s location in Oakland’s Uptown neighborhood promises “a carefully curated video rental store, with full access to our combined collection on both sides of the Bay, and a film-themed beer & wine bar” — with live comedy and entertainment seven nights a week.\u003c/p>\n\u003cp>Naturally, like so many other community institutions in peril, Lost Weekend is \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video\" target=\"_blank\" rel=\"noopener\">asking for help\u003c/a>. But as the Voltron-like forces combine with dueling photobooths and copies of \u003cem>The Bad News Bears\u003c/em> alongside \u003cem>24 Hour Revenge Therapy\u003c/em>, things are looking a little sunnier on Lost Weekend’s side of the street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Nate Salman discusses Waterstrider’s new single, “Nowhere Now.”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/waterstrider-nate.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Listening to the Oakland indie-rock five-piece Waterstrider is like taking a bite of a really fancy donut: you sink your teeth into the guitar hooks and thumping drums, then the detailed melodies and the studio tricks catch your ear, like organic pumpkin abstract or hibiscus sprinkles or whatever else people put on fancy donuts — drawing a bold line between Waterstrider and the legions of Afro-pop wannabees haunting your Vampire Weekend Pandora station.\u003c/p>\n\u003cp>“Nowhere Now,” the just-released new single from the album of the same name, is no exception. The song kicks off with galloping congas, and picks up steam with the addition of a muted guitar riff and a bass line that wallops like a Krispy Kreme to the gut. The song’s visceral punch is balanced by Nate Salman’s falsetto, alternately delicate and thunderous as he leads the band to the song’s climax and final proclamation: “In the hurricane of love and hate / I still remain.”\u003c/p>\n\u003cp>Waterstrider formed on the Berkeley campus a few years ago and quickly released the \u003cem>Constellation\u003c/em> EP. Their forthcoming debut LP, \u003cem>Nowhere Now\u003c/em>, out April 6, takes \u003cem>Constellation\u003c/em>’s Afro-pop vibe and pushes it in every direction, embracing R&B, rock and roll and Thom Yorke’s operatic vocals along the way.\u003c/p>\n\u003cp>Listen to Waterstrider’s Nate Salman explain the many nuances of “Nowhere Now” in the interview above, and check out the track in its entirety, below.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/195990462″ 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>\u003caside class=\"aligncenter\">\n\u003ch4>Nate Salman discusses Waterstrider’s new single, “Nowhere Now.”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/waterstrider-nate.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Listening to the Oakland indie-rock five-piece Waterstrider is like taking a bite of a really fancy donut: you sink your teeth into the guitar hooks and thumping drums, then the detailed melodies and the studio tricks catch your ear, like organic pumpkin abstract or hibiscus sprinkles or whatever else people put on fancy donuts — drawing a bold line between Waterstrider and the legions of Afro-pop wannabees haunting your Vampire Weekend Pandora station.\u003c/p>\n\u003cp>“Nowhere Now,” the just-released new single from the album of the same name, is no exception. The song kicks off with galloping congas, and picks up steam with the addition of a muted guitar riff and a bass line that wallops like a Krispy Kreme to the gut. The song’s visceral punch is balanced by Nate Salman’s falsetto, alternately delicate and thunderous as he leads the band to the song’s climax and final proclamation: “In the hurricane of love and hate / I still remain.”\u003c/p>\n\u003cp>Waterstrider formed on the Berkeley campus a few years ago and quickly released the \u003cem>Constellation\u003c/em> EP. Their forthcoming debut LP, \u003cem>Nowhere Now\u003c/em>, out April 6, takes \u003cem>Constellation\u003c/em>’s Afro-pop vibe and pushes it in every direction, embracing R&B, rock and roll and Thom Yorke’s operatic vocals along the way.\u003c/p>\n\u003cp>Listen to Waterstrider’s Nate Salman explain the many nuances of “Nowhere Now” in the interview above, and check out the track in its entirety, below.\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/tracks/195990462″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/195990462″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyond 'Dad Rock': 12 Great Jeff Tweedy Moments",
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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/tweedy/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Tweedy\u003c/h2>\n\u003cdiv class=\"event-desc\">The ultimate “dad rock” band.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 17–18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tweedy/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Dad rock” is not a friendly term; it implies that any male musician who has participated in the act of procreation — or who has fans that are dads — is on a short road to irrelevance, paved with boring albums. Being labeled “dad rock” in the current musical landscape is like wearing Birkenstocks with socks: it instantly makes one uncool. \u003c/p>\n\u003cp>Jeff Tweedy remembers the first time he saw the term used to describe his band, Wilco. The wry dismissal came in a \u003ca href=\"http://pitchfork.com/reviews/albums/10219-sky-blue-sky/\" target=\"_blank\" rel=\"noopener\">review of the band’s 2007 album \u003cem>Sky Blue Sky\u003c/em>\u003c/a>, and he was not impressed. “It was particularly unflattering… ouch,” he said later. \u003c/p>\n\u003cp>In a move destined to infuriate the dad-rock naysayers, Tweedy, a father, has gone and formed a band with his own son, Spencer, called \u003ca href=\"http://www.npr.org/event/music/350594224/tweedy-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tweedy\u003c/a>. In an effort to dispel the negativity surrounding the term “dad rock,” we’ve put together a list of Jeff Tweedy’s career highlights, stand-out moments and general proof of his unrelenting hustle since — and in spite of — becoming a dad. \u003c/p>\n\u003cp>\u003cstrong>1.\u003c/strong> He has amazing chemistry with comedian Fred Armisen. In the documentary \u003cem>I Am Trying to Break Your Heart\u003c/em>, he \u003ca href=\"https://www.youtube.com/watch?v=O2_9Up_ITBs&t=1045\" target=\"_blank\" rel=\"noopener\">nails the character\u003c/a> of a money-hungry, calculating showman with his spot-on deadpan.\u003c/p>\n\u003cp>\u003cstrong>2.\u003c/strong> He consistently lets his band members take the spotlight, like Nels Cline’s \u003ca href=\"https://www.youtube.com/watch?v=7I79m7_kAnA&t=146\" target=\"_blank\" rel=\"noopener\">spiraling, sprawling guitar solo on \u003cem>Sky Blue Sky\u003c/em>’s “Impossible Germany”\u003c/a> and Glenn Kotche’s \u003ca href=\"https://www.youtube.com/watch?v=Y9b_zzVkQw4&t=113\" target=\"_blank\" rel=\"noopener\">unhinged drumming on “Via Chicago.”\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3.\u003c/strong> Tweedy recently finished \u003ca href=\"https://www.youtube.com/watch?v=xUpSMPlBXf0\" target=\"_blank\" rel=\"noopener\">Pops Staples’ posthumous album \u003cem>Don’t Lose This\u003c/em>\u003c/a> with his frequent collaborator Mavis Staples. Full of warmth and polished to a shine, it shows off his ear as a producer.\u003c/p>\n\u003cp>\u003cstrong>4.\u003c/strong> Wilco surprised the crowd at their own summer festival, Solid Sound, with an \u003ca href=\"http://www.setlist.fm/setlist/wilco/2013/mass-moca-north-adams-ma-6bd936a6.html\" target=\"_blank\" rel=\"noopener\">entire set of covers\u003c/a>, proving that you can indeed teach an old dad new tricks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5m9VwXdvhBI\u003c/p>\n\u003cp>\u003cstrong>5.\u003c/strong> \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=8DeMYEsr6Zs\" target=\"_blank\" rel=\"noopener\">Yankee Hotel Foxtrot\u003c/a>\u003c/em>. Wilco’s fourth album is their crown jewel, brilliantly balancing sonic experimentation with sunny pop and nuanced folk-rock. Tweedy was already a father two times over when it was recorded.\u003c/p>\n\u003cp>\u003cstrong>6.\u003c/strong> Tweedy (the band) got \u003cem>Parks and Recreation\u003c/em>’s Nick Offerman to direct their hilarious video for “Low Key,” which stars, among others, comedian John Hodges, Conan O’Brien, Chance the Rapper and record producer Steve Albini. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=29YGcuRk3mM\u003c/p>\n\u003cp>\u003cstrong>7.\u003c/strong> “Theologians,” from Wilco’s 2004 LP \u003cem>A Ghost is Born\u003c/em>, packs an epic statement of defiance: “No one’s ever gonna take my life from me” Tweedy howls in the song’s climactic bridge, over a thundering guitar riff and crashing cymbals. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=el75UyYO554\u003c/p>\n\u003cp>\u003cstrong>8.\u003c/strong> Ever searching, Tweedy constantly pushes himself to explore new musical territory, like on \u003cem>The Whole Love\u003c/em>’s opening track, the electronic-infused and genre-bending “\u003ca href=\"https://www.youtube.com/watch?v=mgWJwxl-wG4\" target=\"_blank\" rel=\"noopener\">Art of Almost\u003c/a>.” \u003c/p>\n\u003cp>\u003cstrong>9.\u003c/strong> He can take half the credit for the genetic makeup of his son Spencer — a deft drummer and terrific musician in his own right.\u003c/p>\n\u003cp>\u003cstrong>10.\u003c/strong> Wilco were vocal advocates of Occupy Wall Street. As Tweedy put it \u003ca href=\"http://wilcoworld.net/#!/tweedy-on-ows/\" target=\"_blank\" rel=\"noopener\">on the band’s website\u003c/a>, “Occupy Wall Street is the best example of democracy in action we’ve seen around here in a long time… History shows pretty consistently that no positive change comes from people sitting on their asses.”\u003c/p>\n\u003cp>\u003cstrong>11.\u003c/strong> Even as he approaches age 50, he consistently plays 30-song sets that delve deep into his ever-growing catalog.\u003c/p>\n\u003cp>\u003cstrong>12.\u003c/strong> Finally, more than a decade since their first collaboration, he still has great chemistry with Fred Armisen. He recently \u003ca href=\"https://www.youtube.com/watch?v=J2wyUiwCEl4\" target=\"_blank\" rel=\"noopener\">killed it on \u003cem>Portlandia\u003c/em>\u003c/a>, playing a disingenuous folk singer struggling to find something to sing about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All in all, a quarter-century into his career, Jeff Tweedy hasn’t lost the compulsion to keep pushing forward, and to have fun along the way; even as a dad, he’s still \u003ca href=\"https://www.youtube.com/watch?v=NAf34sDpd-o\" target=\"_blank\" rel=\"noopener\">just a kid\u003c/a>. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tweedy/\" target=\"_blank\" rel=\"noopener\">Catch Tweedy in action at the Fillmore on March 17 and 18\u003c/a>.\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/tweedy/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Tweedy\u003c/h2>\n\u003cdiv class=\"event-desc\">The ultimate “dad rock” band.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 17–18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tweedy/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Dad rock” is not a friendly term; it implies that any male musician who has participated in the act of procreation — or who has fans that are dads — is on a short road to irrelevance, paved with boring albums. Being labeled “dad rock” in the current musical landscape is like wearing Birkenstocks with socks: it instantly makes one uncool. \u003c/p>\n\u003cp>Jeff Tweedy remembers the first time he saw the term used to describe his band, Wilco. The wry dismissal came in a \u003ca href=\"http://pitchfork.com/reviews/albums/10219-sky-blue-sky/\" target=\"_blank\" rel=\"noopener\">review of the band’s 2007 album \u003cem>Sky Blue Sky\u003c/em>\u003c/a>, and he was not impressed. “It was particularly unflattering… ouch,” he said later. \u003c/p>\n\u003cp>In a move destined to infuriate the dad-rock naysayers, Tweedy, a father, has gone and formed a band with his own son, Spencer, called \u003ca href=\"http://www.npr.org/event/music/350594224/tweedy-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tweedy\u003c/a>. In an effort to dispel the negativity surrounding the term “dad rock,” we’ve put together a list of Jeff Tweedy’s career highlights, stand-out moments and general proof of his unrelenting hustle since — and in spite of — becoming a dad. \u003c/p>\n\u003cp>\u003cstrong>1.\u003c/strong> He has amazing chemistry with comedian Fred Armisen. In the documentary \u003cem>I Am Trying to Break Your Heart\u003c/em>, he \u003ca href=\"https://www.youtube.com/watch?v=O2_9Up_ITBs&t=1045\" target=\"_blank\" rel=\"noopener\">nails the character\u003c/a> of a money-hungry, calculating showman with his spot-on deadpan.\u003c/p>\n\u003cp>\u003cstrong>2.\u003c/strong> He consistently lets his band members take the spotlight, like Nels Cline’s \u003ca href=\"https://www.youtube.com/watch?v=7I79m7_kAnA&t=146\" target=\"_blank\" rel=\"noopener\">spiraling, sprawling guitar solo on \u003cem>Sky Blue Sky\u003c/em>’s “Impossible Germany”\u003c/a> and Glenn Kotche’s \u003ca href=\"https://www.youtube.com/watch?v=Y9b_zzVkQw4&t=113\" target=\"_blank\" rel=\"noopener\">unhinged drumming on “Via Chicago.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3.\u003c/strong> Tweedy recently finished \u003ca href=\"https://www.youtube.com/watch?v=xUpSMPlBXf0\" target=\"_blank\" rel=\"noopener\">Pops Staples’ posthumous album \u003cem>Don’t Lose This\u003c/em>\u003c/a> with his frequent collaborator Mavis Staples. Full of warmth and polished to a shine, it shows off his ear as a producer.\u003c/p>\n\u003cp>\u003cstrong>4.\u003c/strong> Wilco surprised the crowd at their own summer festival, Solid Sound, with an \u003ca href=\"http://www.setlist.fm/setlist/wilco/2013/mass-moca-north-adams-ma-6bd936a6.html\" target=\"_blank\" rel=\"noopener\">entire set of covers\u003c/a>, proving that you can indeed teach an old dad new tricks.\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/5m9VwXdvhBI'\n title='//www.youtube.com/embed/5m9VwXdvhBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5.\u003c/strong> \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=8DeMYEsr6Zs\" target=\"_blank\" rel=\"noopener\">Yankee Hotel Foxtrot\u003c/a>\u003c/em>. Wilco’s fourth album is their crown jewel, brilliantly balancing sonic experimentation with sunny pop and nuanced folk-rock. Tweedy was already a father two times over when it was recorded.\u003c/p>\n\u003cp>\u003cstrong>6.\u003c/strong> Tweedy (the band) got \u003cem>Parks and Recreation\u003c/em>’s Nick Offerman to direct their hilarious video for “Low Key,” which stars, among others, comedian John Hodges, Conan O’Brien, Chance the Rapper and record producer Steve Albini. \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/29YGcuRk3mM'\n title='//www.youtube.com/embed/29YGcuRk3mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>7.\u003c/strong> “Theologians,” from Wilco’s 2004 LP \u003cem>A Ghost is Born\u003c/em>, packs an epic statement of defiance: “No one’s ever gonna take my life from me” Tweedy howls in the song’s climactic bridge, over a thundering guitar riff and crashing cymbals. \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/el75UyYO554'\n title='//www.youtube.com/embed/el75UyYO554'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>8.\u003c/strong> Ever searching, Tweedy constantly pushes himself to explore new musical territory, like on \u003cem>The Whole Love\u003c/em>’s opening track, the electronic-infused and genre-bending “\u003ca href=\"https://www.youtube.com/watch?v=mgWJwxl-wG4\" target=\"_blank\" rel=\"noopener\">Art of Almost\u003c/a>.” \u003c/p>\n\u003cp>\u003cstrong>9.\u003c/strong> He can take half the credit for the genetic makeup of his son Spencer — a deft drummer and terrific musician in his own right.\u003c/p>\n\u003cp>\u003cstrong>10.\u003c/strong> Wilco were vocal advocates of Occupy Wall Street. As Tweedy put it \u003ca href=\"http://wilcoworld.net/#!/tweedy-on-ows/\" target=\"_blank\" rel=\"noopener\">on the band’s website\u003c/a>, “Occupy Wall Street is the best example of democracy in action we’ve seen around here in a long time… History shows pretty consistently that no positive change comes from people sitting on their asses.”\u003c/p>\n\u003cp>\u003cstrong>11.\u003c/strong> Even as he approaches age 50, he consistently plays 30-song sets that delve deep into his ever-growing catalog.\u003c/p>\n\u003cp>\u003cstrong>12.\u003c/strong> Finally, more than a decade since their first collaboration, he still has great chemistry with Fred Armisen. He recently \u003ca href=\"https://www.youtube.com/watch?v=J2wyUiwCEl4\" target=\"_blank\" rel=\"noopener\">killed it on \u003cem>Portlandia\u003c/em>\u003c/a>, playing a disingenuous folk singer struggling to find something to sing about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All in all, a quarter-century into his career, Jeff Tweedy hasn’t lost the compulsion to keep pushing forward, and to have fun along the way; even as a dad, he’s still \u003ca href=\"https://www.youtube.com/watch?v=NAf34sDpd-o\" target=\"_blank\" rel=\"noopener\">just a kid\u003c/a>. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/tweedy/\" target=\"_blank\" rel=\"noopener\">Catch Tweedy in action at the Fillmore on March 17 and 18\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock",
"headTitle": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/03/20150313tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg\" alt=\"John Jorgenson Quintet\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10464855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Esprit de Django et Stephane Gypsy Jazz Festival\u003c/h3>\n\u003cp>Here’s a two-day event celebrating the legacy of the 1930s’ Paris-based duo, Django Reinhardt and Stéphane Grappelli, who revolutionized jazz by introducing lively strings to counteract the laid-back big-band sound that was popular at the time. Free events like busking and belly dancing are interspersed with performances by the Leftover Cuties, Tin Hat, the John Jorgenson Quintet (pictured at right) on Saturday; followed by Beso, George Cole Quintet, Mr. Sun, and Vaud & the Villains on Sunday. Purchase single show tickets or Saturday and Sunday passes for the showcases that start in the afternoon and go well into the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/esprit-de-django-et-stephane-festival-gypsy-jazz-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg\" alt=\"Munro\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10403045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">Stories by Alice Munro\u003c/h3>\n\u003cp>Z Space and Word for Word Performing Arts Company present a double feature of plays based on the short stories of eminent Canadian author and 2013 Nobel Prize winner Alice Munro. “The Office” centers on a fledgling writer who determines that she needs her own office to succeed, before facing an obstacle from her landlord. In “Dolly,” an elderly couple struggles with the reemergence of one of the husband’s old lovers. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stories-by-alice-munro/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg\" alt=\"The Lake Effect\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10428541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Lake Effect\u003c/h3>\n\u003cp>The Bay Area can’t get enough of playwright Rajiv Joseph, from his Glickman Award-winning two-person high school suspense thriller \u003cem>The North Pool\u003c/em> at TheatreWorks to the sprawling and grim Iraq War fantasia \u003cem>Bengal Tiger at the Iraq Zoo\u003c/em> at San Francisco Playhouse. Now Joseph’s back with \u003cem>The Lake Effect\u003c/em>, in which an estranged brother and sister reunite in their late father’s Indian restaurant in Cleveland. When their dad’s former gambling bookie shows up, the sibs find out how little they knew about their own family. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-lake-effect/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg\" alt=\"Killing Fields of Dr. Hang S. Ngor\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10446100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields.jpg 1426w\" sizes=\"(max-width: 400px) 100vw, 400px\">CAAMFest\u003c/h3>\n\u003cp>Along with discoveries from all over, the Bay Area’s preeminent Asian-American film (and food and music) festival spotlights former and current Bay Area filmmakers. Arthur Dong presents the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> and his re-mastered 1989 excavation of local Chinese-American history, \u003cem>Forbidden City, USA\u003c/em>. Academy Award-winner Ruby Yang follows underprivileged Hong Kong students mounting a musical in \u003cem>My Voice My Life\u003c/em>, and reprises her 2009 study of movie theaters in San Francisco’s Chinatown, \u003cem>A Moment in Time\u003c/em>. In \u003cem>Chinese Couplets\u003c/em>, Felicia Lowe bravely explores her mother’s experiences as an adult in America and a child in China. As they say, all history is personal. \u003ca href=\"http://ww2.kqed.org/events/pick/caamfest-2015/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg\" alt=\"Robyn Hitchcock\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10462424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">Robyn Hitchcock\u003c/h3>\n\u003cp>From his 1970s work fronting the Soft Boys to his classic 1984 album \u003cem>I Often Dream of Trains\u003c/em>, Robyn Hitchcock appeared out of the gate as a wry, clever songwriter with a literate sensibility and approachable-yet-emotive voice. All too often, these types of promising songwriters fall into obscurity, or become caricatures of themselves, or recycle old folk and blues forms to death. Hitchcock, to the benefit of smart ears everywhere, has instead remained fiercely creative, as evidenced on his 2014 album \u003cem>The Man Upstairs\u003c/em> — which includes among its original songs unique covers of the Psychedelic Furs, Grant Lee Phillips, and Roxy Music. There’s even a version of “The Crystal Ship” by the Doors that, in Hitchcock’s hands, resurfaces all the mysticism and strangeness of hearing Jim Morrison for the first time. Hitchcock’s back catalog is hundreds deep, so there’s no telling what you might hear when he performs — but each show is rewarding, and special. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/robyn-hitchcock/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg\" alt=\"Kristin Hersh\" width=\"400\" height=\"228\" class=\"alignright size-thumbnail wp-image-10458736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-320x183.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Kristin Hersh\u003c/h3>\n\u003cp>Kristin Hersh, of Throwing Muses, performs a solo set at the Chapel in San Francisco. Hersh founded Throwing Muses with her stepsister while still in high school, before becoming a pioneering group in what would later be known as alternative rock. Following two breakups in the 1990s, the band reunited in 2004 and continues to tour. Hersh also founded 50 Foot Wave and has recorded solo material regularly since the early ’90s \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kristin-hersh/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg\" alt=\"Juliana Hatfield 3\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10458738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2.jpg 1401w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Juliana Hatfield Three\u003c/h3>\n\u003cp>Recently reformed after nearly twenty years, The Juliana Hatfield Three plays together at the Chapel in San Francisco. The trio was originally formed by Hatfield in 1992 following the breakup of college rock band Blake Babies. The Juliana Hatfield Three is most well known for their song “My Sister,” which topped the \u003cem>Billboard\u003c/em> Modern Rock Tracks chart in 1993. Their 2015 release, \u003cem>Whatever, My Love\u003c/em>, is the band’s first album since 1993. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-juliana-hatfield-three/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg\" alt=\"John Jorgenson Quintet\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10464855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Esprit de Django et Stephane Gypsy Jazz Festival\u003c/h3>\n\u003cp>Here’s a two-day event celebrating the legacy of the 1930s’ Paris-based duo, Django Reinhardt and Stéphane Grappelli, who revolutionized jazz by introducing lively strings to counteract the laid-back big-band sound that was popular at the time. Free events like busking and belly dancing are interspersed with performances by the Leftover Cuties, Tin Hat, the John Jorgenson Quintet (pictured at right) on Saturday; followed by Beso, George Cole Quintet, Mr. Sun, and Vaud & the Villains on Sunday. Purchase single show tickets or Saturday and Sunday passes for the showcases that start in the afternoon and go well into the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/esprit-de-django-et-stephane-festival-gypsy-jazz-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg\" alt=\"Munro\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10403045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">Stories by Alice Munro\u003c/h3>\n\u003cp>Z Space and Word for Word Performing Arts Company present a double feature of plays based on the short stories of eminent Canadian author and 2013 Nobel Prize winner Alice Munro. “The Office” centers on a fledgling writer who determines that she needs her own office to succeed, before facing an obstacle from her landlord. In “Dolly,” an elderly couple struggles with the reemergence of one of the husband’s old lovers. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stories-by-alice-munro/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg\" alt=\"The Lake Effect\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10428541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Lake Effect\u003c/h3>\n\u003cp>The Bay Area can’t get enough of playwright Rajiv Joseph, from his Glickman Award-winning two-person high school suspense thriller \u003cem>The North Pool\u003c/em> at TheatreWorks to the sprawling and grim Iraq War fantasia \u003cem>Bengal Tiger at the Iraq Zoo\u003c/em> at San Francisco Playhouse. Now Joseph’s back with \u003cem>The Lake Effect\u003c/em>, in which an estranged brother and sister reunite in their late father’s Indian restaurant in Cleveland. When their dad’s former gambling bookie shows up, the sibs find out how little they knew about their own family. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-lake-effect/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg\" alt=\"Killing Fields of Dr. Hang S. Ngor\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10446100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields.jpg 1426w\" sizes=\"(max-width: 400px) 100vw, 400px\">CAAMFest\u003c/h3>\n\u003cp>Along with discoveries from all over, the Bay Area’s preeminent Asian-American film (and food and music) festival spotlights former and current Bay Area filmmakers. Arthur Dong presents the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> and his re-mastered 1989 excavation of local Chinese-American history, \u003cem>Forbidden City, USA\u003c/em>. Academy Award-winner Ruby Yang follows underprivileged Hong Kong students mounting a musical in \u003cem>My Voice My Life\u003c/em>, and reprises her 2009 study of movie theaters in San Francisco’s Chinatown, \u003cem>A Moment in Time\u003c/em>. In \u003cem>Chinese Couplets\u003c/em>, Felicia Lowe bravely explores her mother’s experiences as an adult in America and a child in China. As they say, all history is personal. \u003ca href=\"http://ww2.kqed.org/events/pick/caamfest-2015/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg\" alt=\"Robyn Hitchcock\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10462424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">Robyn Hitchcock\u003c/h3>\n\u003cp>From his 1970s work fronting the Soft Boys to his classic 1984 album \u003cem>I Often Dream of Trains\u003c/em>, Robyn Hitchcock appeared out of the gate as a wry, clever songwriter with a literate sensibility and approachable-yet-emotive voice. All too often, these types of promising songwriters fall into obscurity, or become caricatures of themselves, or recycle old folk and blues forms to death. Hitchcock, to the benefit of smart ears everywhere, has instead remained fiercely creative, as evidenced on his 2014 album \u003cem>The Man Upstairs\u003c/em> — which includes among its original songs unique covers of the Psychedelic Furs, Grant Lee Phillips, and Roxy Music. There’s even a version of “The Crystal Ship” by the Doors that, in Hitchcock’s hands, resurfaces all the mysticism and strangeness of hearing Jim Morrison for the first time. Hitchcock’s back catalog is hundreds deep, so there’s no telling what you might hear when he performs — but each show is rewarding, and special. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/robyn-hitchcock/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg\" alt=\"Kristin Hersh\" width=\"400\" height=\"228\" class=\"alignright size-thumbnail wp-image-10458736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-320x183.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Kristin Hersh\u003c/h3>\n\u003cp>Kristin Hersh, of Throwing Muses, performs a solo set at the Chapel in San Francisco. Hersh founded Throwing Muses with her stepsister while still in high school, before becoming a pioneering group in what would later be known as alternative rock. Following two breakups in the 1990s, the band reunited in 2004 and continues to tour. Hersh also founded 50 Foot Wave and has recorded solo material regularly since the early ’90s \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kristin-hersh/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg\" alt=\"Juliana Hatfield 3\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10458738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2.jpg 1401w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Juliana Hatfield Three\u003c/h3>\n\u003cp>Recently reformed after nearly twenty years, The Juliana Hatfield Three plays together at the Chapel in San Francisco. The trio was originally formed by Hatfield in 1992 following the breakup of college rock band Blake Babies. The Juliana Hatfield Three is most well known for their song “My Sister,” which topped the \u003cem>Billboard\u003c/em> Modern Rock Tracks chart in 1993. Their 2015 release, \u003cem>Whatever, My Love\u003c/em>, is the band’s first album since 1993. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-juliana-hatfield-three/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As part of a recent story about jazz bassist and bandleader Marcus Shelby’s \u003ca href=\"http://ww2.kqed.org/arts/2014/04/24/bassist-marcus-shelby-finding-freedoms-message-in-the-music/\">work with Bay Area youth\u003c/a>, we taped a private concert on the stage of the \u003ca href=\"http://sfjazz.org\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> Center. The Marcus Shelby Quintet played a song, “Social Call,” which was used in snatches and in the background for the news story. But that song stayed with us — and we felt the band’s performance deserved a full hearing on \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\">KQED Main Stage\u003c/a>.\u003c/p>\n\u003cp>“Social Call” is a sweet, lesser-known standard composed by Gigi Gryce. The lyrics describe an impulse we’ve all at least contemplated: the singer thinks maybe she’ll pay a strictly “social call” on an ex-lover, whose doorway she “happened” to pass. As she waits for him to answer the door, her mind wanders to what might happen “if you should try to kiss me….”\u003c/p>\n\u003cp>“Betty Carter was one of the people who really brought attention to that song,” says Shelby, who calls Carter “one of my biggest influences.” He notes that \u003ca href=\"http://www.tiffanyaustinmusic.com/\" target=\"_blank\" rel=\"noopener\">Tiffany Austin\u003c/a>, who sings with the quintet, is also a Betty Carter fan — and a fan of \u003ca href=\"https://www.youtube.com/watch?v=KdNxxFWtX00\" target=\"_blank\" rel=\"noopener\">Carter’s version of the tune,\u003c/a> which this arrangement echoes.\u003c/p>\n\u003cp>Over the last two decades, Shelby — who leads the \u003ca href=\"http://www.marcusshelby.com/index.htm\" target=\"_blank\" rel=\"noopener\">Marcus Shelby Jazz Orchestra\u003c/a>, the Marcus Shelby Hot 7, the Marcus Shelby Quintet and the Marcus Shelby Trio — has become a fixture of the Bay Area blues and jazz scene. A composer and educator, a San Francisco Arts Commissioner and an artist-in-residence at the Yerba Buena Gardens Festival, Shelby also collaborates regularly on theater, film and dance projects.\u003c/p>\n\u003cp>If you, too, find that this number lingers with you after listening, you can hear more of the Marcus Shelby Quintet next Friday, March 21, at \u003ca href=\"http://www.cafestritch.com/event/marcus-shelby-residency-thelonious-monk-blues/\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a>, in San Jose. The Orchestra will play the \u003ca href=\"http://www.nvjs.org/feature/marcus-shelby-jazz-orchestra/\" target=\"_blank\" rel=\"noopener\">Mondavi Winery\u003c/a> on March 22. The Marcus Shelby Trio will play SF’s \u003ca href=\"http://redpoppyarthouse.org/events\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a> on March 27, and the \u003ca href=\"http://www.soundroom.org/#\" target=\"_blank\" rel=\"noopener\">Sound Room\u003c/a> in Oakland March 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As part of a recent story about jazz bassist and bandleader Marcus Shelby’s \u003ca href=\"http://ww2.kqed.org/arts/2014/04/24/bassist-marcus-shelby-finding-freedoms-message-in-the-music/\">work with Bay Area youth\u003c/a>, we taped a private concert on the stage of the \u003ca href=\"http://sfjazz.org\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> Center. The Marcus Shelby Quintet played a song, “Social Call,” which was used in snatches and in the background for the news story. But that song stayed with us — and we felt the band’s performance deserved a full hearing on \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\">KQED Main Stage\u003c/a>.\u003c/p>\n\u003cp>“Social Call” is a sweet, lesser-known standard composed by Gigi Gryce. The lyrics describe an impulse we’ve all at least contemplated: the singer thinks maybe she’ll pay a strictly “social call” on an ex-lover, whose doorway she “happened” to pass. As she waits for him to answer the door, her mind wanders to what might happen “if you should try to kiss me….”\u003c/p>\n\u003cp>“Betty Carter was one of the people who really brought attention to that song,” says Shelby, who calls Carter “one of my biggest influences.” He notes that \u003ca href=\"http://www.tiffanyaustinmusic.com/\" target=\"_blank\" rel=\"noopener\">Tiffany Austin\u003c/a>, who sings with the quintet, is also a Betty Carter fan — and a fan of \u003ca href=\"https://www.youtube.com/watch?v=KdNxxFWtX00\" target=\"_blank\" rel=\"noopener\">Carter’s version of the tune,\u003c/a> which this arrangement echoes.\u003c/p>\n\u003cp>Over the last two decades, Shelby — who leads the \u003ca href=\"http://www.marcusshelby.com/index.htm\" target=\"_blank\" rel=\"noopener\">Marcus Shelby Jazz Orchestra\u003c/a>, the Marcus Shelby Hot 7, the Marcus Shelby Quintet and the Marcus Shelby Trio — has become a fixture of the Bay Area blues and jazz scene. A composer and educator, a San Francisco Arts Commissioner and an artist-in-residence at the Yerba Buena Gardens Festival, Shelby also collaborates regularly on theater, film and dance projects.\u003c/p>\n\u003cp>If you, too, find that this number lingers with you after listening, you can hear more of the Marcus Shelby Quintet next Friday, March 21, at \u003ca href=\"http://www.cafestritch.com/event/marcus-shelby-residency-thelonious-monk-blues/\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a>, in San Jose. The Orchestra will play the \u003ca href=\"http://www.nvjs.org/feature/marcus-shelby-jazz-orchestra/\" target=\"_blank\" rel=\"noopener\">Mondavi Winery\u003c/a> on March 22. The Marcus Shelby Trio will play SF’s \u003ca href=\"http://redpoppyarthouse.org/events\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a> on March 27, and the \u003ca href=\"http://www.soundroom.org/#\" target=\"_blank\" rel=\"noopener\">Sound Room\u003c/a> in Oakland March 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bambu/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Bambu\u003c/h2>\n\u003cdiv class=\"event-desc\">Political party-rocking hip-hop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Leo’s Music Club\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bambu/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://bambu.bigcartel.com/\">\u003cem>Party Worker\u003c/em>\u003c/a>, the fifth album from Filipino-American rapper \u003ca href=\"http://bambudepistola.tumblr.com/\">Bambu\u003c/a>, comes at a crucial, tense time in America.\u003c/p>\n\u003cp>Addressing everything from worker rights and immigration to the military and prison industrial complex, police brutality and gentrification, the former \u003ca href=\"https://myspace.com/nativeguns\">Native Guns\u003c/a> MC draws politically charged lyrics from his personal experiences as a veteran, father and community organizer. Musically, \u003cem>Party Worker\u003c/em> also links to Bambu’s Filipino roots, with references to revolutionary leader \u003ca href=\"http://www.loc.gov/rr/hispanic/1898/bonifacio.html\">Andrés Bonifacio\u003c/a> and sampling of traditional Philippine \u003ca href=\"https://www.youtube.com/watch?v=B_acS1s_cZM\" target=\"_blank\" rel=\"noopener\">kulintang\u003c/a> on the track “Welcome to the Party.”\u003c/p>\n\u003cp>One song from the album, “Minimum Wage,” is particularly timely, as several cities around the nation this month moved toward increasing workers’ pay — including Oakland, which raised the local minimum wage to $12.25.\u003c/p>\n\u003cp>“Right off the top, I don’t think that it’s enough,” says Bambu, who lives in Oakland. “I think that it’s caught up to 1982”\u003c/p>\n\u003cp>In Bambu’s worldview, one issue has tributaries into so many other issues. On the minimum wage, he continues: “ As far as sustainability for even a bachelor, immediately I have to piggyback that onto gentrification because we’re talking about raising the minimum wage for people that live in communities where it barely gets them by, along with other government-assistance programs. Couple that with people taking advantage of low rents and making the cost of living higher in those areas, minimum wage just doesn’t work; it’s this never-ending cycle. It’s great that it’s acknowledged that there is a need because of this economic disparity between the classes at this point, but I don’t think anyone could raise it enough that it will truly blur that economic inequality.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Minimum Wage” is also personal, and speaks to Bambu’s work as an independent artist. Though \u003cem>Party Worker\u003c/em> was produced with funds raised through Kickstarter (\u003ca href=\"https://www.kickstarter.com/projects/bambudepistola/bambu-presents-the-party-worker-campaign\">the campaign\u003c/a> nearly doubled its original goal), \u003ca href=\"http://beatrockmusic.com/\">Beat Rock Music\u003c/a>, the label he works with, operates under the model of a co-op instead of the traditional hierarchical business structure.\u003c/p>\n\u003cp>“It’s an artist collective,” Bambu says. “If one person does well, that’s more resources for everyone else at the label.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BAMBU || MINIMUM WAGE || BEAT BY OJ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/s5h50WnJgsc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a co-op essence in mind, \u003cem>Party Worker\u003c/em> offers a taste of humor; dispersed throughout the album are audio clips of hilarious — and completely accurate — portrayals of check-ins and group processing during community meetings; “if you’re vegan, I don’t know what to tell you, just pick the pork out” says one group member in an announcement.\u003c/p>\n\u003cp>“\u003cem>Party Worker\u003c/em> is supposed to take place in a grassroots group of people organizing around the lost art of MCing; that was the whole point,” he says. “While most of my music has that ‘social justice, get you out there’ [message], this was more about me being able to stretch myself out as an MC. As an MC, as an artist, I don’t believe in art for art’s sake. You have to reflect the work you’re doing or the environment that you’re in and/or around, and it has to make some sort of social commentary. While “Minimum Wage” is about me stretching myself lyrically, rapping over beats that I grew up on, taking it back to the hip-hop MC essence, I still inject a bunch of social-justice rhetoric, for lack of a better word. Only because that’s what I’m around, that’s what I do.”\u003c/p>\n\u003cp>Bambu certainly walks his talk. The artist, raised in Watts, organizes around issues like Asian youth leadership, community reform and empowerment, and offers time and design services to nonprofits. He also hopes to open a community center in his hometown of Los Angeles, where groups sharing political ideologies can hold meetings, classes and other services.\u003c/p>\n\u003cp>Throughout the greater subculture of hip-hop, Bambu is also straightforward about gender equality, something fans can glimpse in songs like “Moms” (\u003ci>One Rifle Per Family\u003c/i>, 2012) and \u003cem>Party Worker\u003c/em>’s “Labor of a Girl,” a collaboration with his wife, rapper \u003ca href=\"http://www.rockyrivera.com/\">Rocky Rivera\u003c/a>.\u003c/p>\n\u003cp>Why call out sexism as an artist? “Because I am a man. I am the one who benefits from male privilege, obviously,” Bambu says. “My species has single-handedly oppressed women on a grandiose scale. Even as a man of color — because it’s so hard being a man of color and the things we have to deal with — we tend to forget that it’s twice as hard to be a \u003ci>woman \u003c/i>of color. From that perspective, I definitely want to focus on speaking to the youth, which is not something that is ‘cool’ in our very patriarchal society. To challenge that is not a cool thing to do.”\u003c/p>\n\u003cp>Bambu’s youth organizing and addressing issues of inequality is fueled, too, from his personal experiences as a young man. For a time, he was in a gang. At age sixteen, still in high school, Bambu served time for armed robbery. Once he was released from juvenile detention, he found himself with no high-school diploma and no job, and joined the Marine Corps.\u003c/p>\n\u003cp>“The military really fed who I was, which was young, testosterone-driven, looking for some kind of organization,” he says. “I stress to people: gangs are just organized black and brown youth in communities. The unfortunate thing is that every subculture mirrors the greater culture, which is profit over people, using violence to resolve disputes.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BAMBU || WELCOME TO THE PARTY || PRODUCED BY DJ PHATRICK\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/s8KXGapAfBI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>After his time in the military, Bambu applied his aptitude for organization with community organizing and making music. Today, he strives to find balance between performing, recording, and activism while being a father, something he says has been challenging in the social climate of police violence within communities of color and the active Black Lives Matter movement in Oakland, where his son attends first grade.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You have to figure out if you still embrace certain values enough to be challenged by your child,” he says. “But I always say, ‘I’m a dad first, I’m an organizer second and I happen to be an MC third,’ you know?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Minimum Wage” is also personal, and speaks to Bambu’s work as an independent artist. Though \u003cem>Party Worker\u003c/em> was produced with funds raised through Kickstarter (\u003ca href=\"https://www.kickstarter.com/projects/bambudepistola/bambu-presents-the-party-worker-campaign\">the campaign\u003c/a> nearly doubled its original goal), \u003ca href=\"http://beatrockmusic.com/\">Beat Rock Music\u003c/a>, the label he works with, operates under the model of a co-op instead of the traditional hierarchical business structure.\u003c/p>\n\u003cp>“It’s an artist collective,” Bambu says. “If one person does well, that’s more resources for everyone else at the label.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BAMBU || MINIMUM WAGE || BEAT BY OJ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/s5h50WnJgsc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a co-op essence in mind, \u003cem>Party Worker\u003c/em> offers a taste of humor; dispersed throughout the album are audio clips of hilarious — and completely accurate — portrayals of check-ins and group processing during community meetings; “if you’re vegan, I don’t know what to tell you, just pick the pork out” says one group member in an announcement.\u003c/p>\n\u003cp>“\u003cem>Party Worker\u003c/em> is supposed to take place in a grassroots group of people organizing around the lost art of MCing; that was the whole point,” he says. “While most of my music has that ‘social justice, get you out there’ [message], this was more about me being able to stretch myself out as an MC. As an MC, as an artist, I don’t believe in art for art’s sake. You have to reflect the work you’re doing or the environment that you’re in and/or around, and it has to make some sort of social commentary. While “Minimum Wage” is about me stretching myself lyrically, rapping over beats that I grew up on, taking it back to the hip-hop MC essence, I still inject a bunch of social-justice rhetoric, for lack of a better word. Only because that’s what I’m around, that’s what I do.”\u003c/p>\n\u003cp>Bambu certainly walks his talk. The artist, raised in Watts, organizes around issues like Asian youth leadership, community reform and empowerment, and offers time and design services to nonprofits. He also hopes to open a community center in his hometown of Los Angeles, where groups sharing political ideologies can hold meetings, classes and other services.\u003c/p>\n\u003cp>Throughout the greater subculture of hip-hop, Bambu is also straightforward about gender equality, something fans can glimpse in songs like “Moms” (\u003ci>One Rifle Per Family\u003c/i>, 2012) and \u003cem>Party Worker\u003c/em>’s “Labor of a Girl,” a collaboration with his wife, rapper \u003ca href=\"http://www.rockyrivera.com/\">Rocky Rivera\u003c/a>.\u003c/p>\n\u003cp>Why call out sexism as an artist? “Because I am a man. I am the one who benefits from male privilege, obviously,” Bambu says. “My species has single-handedly oppressed women on a grandiose scale. Even as a man of color — because it’s so hard being a man of color and the things we have to deal with — we tend to forget that it’s twice as hard to be a \u003ci>woman \u003c/i>of color. From that perspective, I definitely want to focus on speaking to the youth, which is not something that is ‘cool’ in our very patriarchal society. To challenge that is not a cool thing to do.”\u003c/p>\n\u003cp>Bambu’s youth organizing and addressing issues of inequality is fueled, too, from his personal experiences as a young man. For a time, he was in a gang. At age sixteen, still in high school, Bambu served time for armed robbery. Once he was released from juvenile detention, he found himself with no high-school diploma and no job, and joined the Marine Corps.\u003c/p>\n\u003cp>“The military really fed who I was, which was young, testosterone-driven, looking for some kind of organization,” he says. “I stress to people: gangs are just organized black and brown youth in communities. The unfortunate thing is that every subculture mirrors the greater culture, which is profit over people, using violence to resolve disputes.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BAMBU || WELCOME TO THE PARTY || PRODUCED BY DJ PHATRICK\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/s8KXGapAfBI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>After his time in the military, Bambu applied his aptitude for organization with community organizing and making music. Today, he strives to find balance between performing, recording, and activism while being a father, something he says has been challenging in the social climate of police violence within communities of color and the active Black Lives Matter movement in Oakland, where his son attends first grade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Queen Returns: Aretha Franklin to Finally Play Bay Area Again",
"headTitle": "The Queen Returns: Aretha Franklin to Finally Play Bay Area Again | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/aretha-franklin/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Aretha Franklin\u003c/h2>\n\u003cdiv class=\"event-desc\">The undisputed Queen of Soul.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oracle Arena\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/aretha-franklin/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you’ve been idly wondering why you’ve never seen Aretha Franklin, wonder no more: you simply haven’t had the chance. In part due to a \u003ca href=\"http://news.google.com/newspapers?nid=1356&dat=19840220&id=kZdPAAAAIBAJ&sjid=XwYEAAAAIBAJ&pg=2069,2310170\" target=\"_blank\" rel=\"noopener\">fear of flying\u003c/a>, the reigning queen of soul hasn’t played the Bay Area in over 30 years.\u003c/p>\n\u003cp>That oversight is rectified — hallelujah — on August 10, 2015, when Aretha Franklin plays the Oracle Arena in Oakland. Tickets, ranging $42.50–$185.50, go on sale to the general public on Friday, March 13, at 10am.\u003c/p>\n\u003cp>It’s a little hard to pinpoint exactly when Franklin last played in the Bay Area. The \u003cem>Oakland Tribune\u003c/em> archives have a \u003ca href=\"http://oaklandtribunearchives.tumblr.com/post/42600412000/black-history-month-san-carlos-ca-july-17-1976\" target=\"_blank\" rel=\"noopener\">terrific photo\u003c/a> of her at the Circle Star Theater in San Carlos in 1976, while a \u003ca href=\"http://www.people.com/people/archive/article/0,,20072124,00.html\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> magazine profile\u003c/a> documents her playing the same place (\u003ca href=\"http://blog.sfgate.com/parenting/2010/09/17/gone-but-not-forgotten-the-circle-star-theatre/\" target=\"_blank\" rel=\"noopener\">lovingly remembered here\u003c/a> by the \u003cem>Chron\u003c/em>’s Peter Hartlaub) in 1978.\u003c/p>\n\u003cp>(Incidentally, it was with this information that I, two years ago, concluded that Aretha would probably never play the Bay Area again, and bought a plane ticket to catch her \u003ca href=\"http://citysound.bohemian.com/2012/12/31/gabes-top-20-shows-of-2012/\" target=\"_blank\" rel=\"noopener\">at the Nokia Theater in Los Angeles.\u003c/a> With a 22-piece band, a great setlist and Aretha’s voice still strong, the show was worth every dime.)\u003c/p>\n\u003cp>Here’s where you come in: is 1978 really the last time Aretha performed in the Bay Area? Surely, there must have been some tribute in the park, some national anthem, \u003cem>something\u003c/em> in the last 36 years, right? Especially since her 1986 album \u003cem>Aretha\u003c/em>, produced by ’80s hitmaker Narada Michael Walden, was recorded partially in San Francisco and Sausalito? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you can dig up a more recent show from your memories, let us know. In the meantime, let’s all just be glad that Aretha Franklin is finally returning to bless us with her presence — seeing her belt out “Respect” is something that should be on everyone’s bucket list.\u003c/p>\n\n",
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"excerpt": "After a three-decade absence, the Queen of Soul will return to the Bay Area, performing in Oakland on Aug. 10, 2015.\r\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/aretha-franklin/\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Aretha Franklin\u003c/h2>\n\u003cdiv class=\"event-desc\">The undisputed Queen of Soul.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oracle Arena\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/aretha-franklin/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you’ve been idly wondering why you’ve never seen Aretha Franklin, wonder no more: you simply haven’t had the chance. In part due to a \u003ca href=\"http://news.google.com/newspapers?nid=1356&dat=19840220&id=kZdPAAAAIBAJ&sjid=XwYEAAAAIBAJ&pg=2069,2310170\" target=\"_blank\" rel=\"noopener\">fear of flying\u003c/a>, the reigning queen of soul hasn’t played the Bay Area in over 30 years.\u003c/p>\n\u003cp>That oversight is rectified — hallelujah — on August 10, 2015, when Aretha Franklin plays the Oracle Arena in Oakland. Tickets, ranging $42.50–$185.50, go on sale to the general public on Friday, March 13, at 10am.\u003c/p>\n\u003cp>It’s a little hard to pinpoint exactly when Franklin last played in the Bay Area. The \u003cem>Oakland Tribune\u003c/em> archives have a \u003ca href=\"http://oaklandtribunearchives.tumblr.com/post/42600412000/black-history-month-san-carlos-ca-july-17-1976\" target=\"_blank\" rel=\"noopener\">terrific photo\u003c/a> of her at the Circle Star Theater in San Carlos in 1976, while a \u003ca href=\"http://www.people.com/people/archive/article/0,,20072124,00.html\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> magazine profile\u003c/a> documents her playing the same place (\u003ca href=\"http://blog.sfgate.com/parenting/2010/09/17/gone-but-not-forgotten-the-circle-star-theatre/\" target=\"_blank\" rel=\"noopener\">lovingly remembered here\u003c/a> by the \u003cem>Chron\u003c/em>’s Peter Hartlaub) in 1978.\u003c/p>\n\u003cp>(Incidentally, it was with this information that I, two years ago, concluded that Aretha would probably never play the Bay Area again, and bought a plane ticket to catch her \u003ca href=\"http://citysound.bohemian.com/2012/12/31/gabes-top-20-shows-of-2012/\" target=\"_blank\" rel=\"noopener\">at the Nokia Theater in Los Angeles.\u003c/a> With a 22-piece band, a great setlist and Aretha’s voice still strong, the show was worth every dime.)\u003c/p>\n\u003cp>Here’s where you come in: is 1978 really the last time Aretha performed in the Bay Area? Surely, there must have been some tribute in the park, some national anthem, \u003cem>something\u003c/em> in the last 36 years, right? Especially since her 1986 album \u003cem>Aretha\u003c/em>, produced by ’80s hitmaker Narada Michael Walden, was recorded partially in San Francisco and Sausalito? \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>If you can dig up a more recent show from your memories, let us know. In the meantime, let’s all just be glad that Aretha Franklin is finally returning to bless us with her presence — seeing her belt out “Respect” is something that should be on everyone’s bucket list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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