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"content": "\u003cp>Bay Area rap veteran the Jacka was killed in an apparent shooting in Oakland on Monday night, \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/02/02/bay-area-rapper-the-jacka-killed-in-oakland-shooting/\" target=\"_blank\" rel=\"noopener\">according to a KPIX report\u003c/a>.\u003c/p>\n\u003cp>The rapper, born Dominic Newton, was 37 years old. His most recent album, \u003cem>What Happened to the World\u003c/em>, was a \u003ca href=\"http://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> continuation of a long career in Bay Area hip-hop stretching back to his work with the Mob Figaz in the late 1990s. The Jacka’s list of collaborators reads like a who’s-who of Bay Area rap, including tracks with E-40, Mac Dre, Keak da Sneak, Mistah F.A.B., Andre Nickatina, Messy Marv and many others.\u003c/p>\n\u003cfigure id=\"attachment_10359072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg\" alt=\"The Jacka \" width=\"640\" height=\"450\" class=\"size-full wp-image-10359072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka onstage at the Phoenix Theater in Petaluma. (Photo: Eric Molyneaux)\u003c/figcaption>\u003c/figure>\n\u003cp>Recent years saw the hardworking rapper founding his own record label, The Artist, and performing with his trademark confidence at area venues like \u003ca href=\"https://twitter.com/OGpenn/status/562504142753509377\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a> and the Phoenix Theater in Petaluma, often alongside fellow rapper Husalah. His music also \u003ca href=\"http://www.allmusic.com/album/fruitvale-station-original-motion-picture-soundtrack-mw0002583483\" target=\"_blank\" rel=\"noopener\">featured prominently\u003c/a> in the award-winning film \u003cem>Fruitvale Station\u003c/em>.\u003c/p>\n\u003cp>In his personal life, the Jacka had converted to Islam, taking the Muslim name Shaheed Akbar. \u003c/p>\n\u003cp>The shooting near MacArthur Boulevard and 94th Ave. occurred around 8:15pm, according to witnesses. At press time, police are currently looking for suspects. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reaction from fellow artists on Twitter was swift, expressing shock and tragedy:\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/E40/status/562671845527519233\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/e-40TW.jpg\" alt=\"e-40TW\" width=\"500\" height=\"226\" class=\"alignleft size-full wp-image-10359316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/e-40TW.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/e-40TW-400x181.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp style=\"clear: both\"> \u003c/p>\n\u003cp>https://twitter.com/Raekwon/status/562504282113843200\u003c/p>\n\u003cp>https://twitter.com/REALDJPREMIER/status/562507818738003968\u003c/p>\n\u003cp>https://twitter.com/FreddieGibbs/status/562508754894086144\u003c/p>\n\u003cp>https://twitter.com/LILBTHEBASEDGOD/status/2189502674\u003c/p>\n\u003cp>https://twitter.com/therealrayluv/status/562513820762267648\u003c/p>\n\u003cp>https://twitter.com/TechN9ne/status/562660252529999873\u003c/p>\n\u003cp>https://twitter.com/adamraps/status/562509599484280833\u003c/p>\n\u003cp>https://twitter.com/realcormega/status/562578280281546752\u003c/p>\n\u003cp>https://twitter.com/planetasia/status/562504640583847936\u003c/p>\n\u003cp>https://twitter.com/L1LDebbie/status/562623072499286017\u003c/p>\n\u003cp>https://twitter.com/BabyBash/status/562502436490063873\u003c/p>\n\u003cp>https://twitter.com/THArealVNASTY/status/562507590962122753\u003c/p>\n\u003cp>https://twitter.com/DroopE/status/562495085497950209\u003c/p>\n\u003cp>https://twitter.com/HBKPLO/status/562493788631728128\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/AmoebaBerkeley/status/562651770514862080\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area rap veteran the Jacka was killed in an apparent shooting in Oakland on Monday night, \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/02/02/bay-area-rapper-the-jacka-killed-in-oakland-shooting/\" target=\"_blank\" rel=\"noopener\">according to a KPIX report\u003c/a>.\u003c/p>\n\u003cp>The rapper, born Dominic Newton, was 37 years old. His most recent album, \u003cem>What Happened to the World\u003c/em>, was a \u003ca href=\"http://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> continuation of a long career in Bay Area hip-hop stretching back to his work with the Mob Figaz in the late 1990s. The Jacka’s list of collaborators reads like a who’s-who of Bay Area rap, including tracks with E-40, Mac Dre, Keak da Sneak, Mistah F.A.B., Andre Nickatina, Messy Marv and many others.\u003c/p>\n\u003cfigure id=\"attachment_10359072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg\" alt=\"The Jacka \" width=\"640\" height=\"450\" class=\"size-full wp-image-10359072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka onstage at the Phoenix Theater in Petaluma. (Photo: Eric Molyneaux)\u003c/figcaption>\u003c/figure>\n\u003cp>Recent years saw the hardworking rapper founding his own record label, The Artist, and performing with his trademark confidence at area venues like \u003ca href=\"https://twitter.com/OGpenn/status/562504142753509377\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a> and the Phoenix Theater in Petaluma, often alongside fellow rapper Husalah. His music also \u003ca href=\"http://www.allmusic.com/album/fruitvale-station-original-motion-picture-soundtrack-mw0002583483\" target=\"_blank\" rel=\"noopener\">featured prominently\u003c/a> in the award-winning film \u003cem>Fruitvale Station\u003c/em>.\u003c/p>\n\u003cp>In his personal life, the Jacka had converted to Islam, taking the Muslim name Shaheed Akbar. \u003c/p>\n\u003cp>The shooting near MacArthur Boulevard and 94th Ave. occurred around 8:15pm, according to witnesses. At press time, police are currently looking for suspects. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The year was 1993, and I was living in a run-down punkhouse that was prone to hardcore bands playing in the living room, all-night strip poker sessions, and piles upon piles of empty forties in the backyard.\u003c/p>\n\u003cp>It might seem like an unlikely backdrop to discover the magic of Rod McKuen, who \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/30/382602078/songwriter-poet-rod-mckuen-dies-at-81\" target=\"_blank\" rel=\"noopener\">died yesterday at the age of 81\u003c/a>, but that’s exactly where I first came across his music. One of my roommates, Dan, lived as the house’s anti-punk punk, with a disdain for mohawks but a love for mullets, bellbottoms, \u003ca href=\"http://ww2.kqed.org/arts/2014/12/04/video-margaret-keane-the-painter-behind-tim-burtons-big-eyes/\" target=\"_blank\" rel=\"noopener\">big-eye paintings\u003c/a> and other aesthetic relics from the 1970s. \u003c/p>\n\u003cp>Dan talked about Rod McKuen a lot, for some reason. I’d only known McKuen from what seemed like an endless supply of his albums in record-store dollar bins, and judging from the albums’ covers and abundance, had assumed him to be a dull easy-listening singer.\u003c/p>\n\u003cp>But one late night, Dan finally played me Rod McKuen—and I still remember the first track he chose, a spoken-word beat-poetry ramble called “Back to Sausalito.” \u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=8w7F8o-GS2I&w=560&h=315]\u003c/p>\n\u003cp>There are plenty of songs about Sausalito—by \u003ca href=\"http://youtu.be/weRGNeaw4cA?t=1m\" target=\"_blank\" rel=\"noopener\">Al Martino\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i_MJ2lw60rw\" target=\"_blank\" rel=\"noopener\">Ohio Express\u003c/a>, \u003ca href=\"http://youtu.be/ZfrkWDAQpzI\" target=\"_blank\" rel=\"noopener\">Diesel\u003c/a> and more—but none of them capture the bohemian spirit of the city in the late ’60s quite like McKuen, who was born in Oakland and lived for many years in San Francisco. In just a minute and a half, McKuen mentions Sally Stanford, Zen, tattoos, sailing, folksingers, and liverwurst sandwiches, and displays a counterculture unease at the idea of prayer. In the middle of it all, he says, glibly, “I dig Sausalito.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’d go on to enjoy the off-kilter sentimentalism of Rod McKuen’s expansive output, \u003ca href=\"http://www.nytimes.com/2015/01/30/arts/rod-mckuen-prolific-poet-and-lyricist-dies-at-81.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> this week in his many obituaries. In particular, Frank Sinatra’s album of McKuen compositions, \u003cem>\u003ca href=\"http://www.allmusic.com/album/a-man-alone-other-songs-of-rod-mckuen-mw0000318826\" target=\"_blank\" rel=\"noopener\">A Man Alone\u003c/a>\u003c/em>, perfectly straddles schmaltz and insight; also, the fact that McKuen’s Stanyan Records re-released two collections of \u003ca href=\"http://www.discogs.com/No%C3%ABl-Coward-Greatest-Hits-Volume-One/release/3226922\" target=\"_blank\" rel=\"noopener\">essential early Noel Coward recordings\u003c/a>, previously only available on long out-of-print 78s, further speaks to his impact on me.\u003c/p>\n\u003cp>But it’s “Back to Sausalito” that I always think of when I think of the man. (And it’s the reason why, if you’re ever in a car with me driving along Hwy. 101 through the city, you’ll hear me drawl under my breath, “I dig Sausalito.”)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I heard that he’d died, I couldn’t find it anywhere on YouTube, so I dug out my vinyl copy and remedied that with the video above. So thanks, Dan, for introducing him to me all those years ago—and thanks to Rod McKuen, for the thousands of songs and poems.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1993, and I was living in a run-down punkhouse that was prone to hardcore bands playing in the living room, all-night strip poker sessions, and piles upon piles of empty forties in the backyard.\u003c/p>\n\u003cp>It might seem like an unlikely backdrop to discover the magic of Rod McKuen, who \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/30/382602078/songwriter-poet-rod-mckuen-dies-at-81\" target=\"_blank\" rel=\"noopener\">died yesterday at the age of 81\u003c/a>, but that’s exactly where I first came across his music. One of my roommates, Dan, lived as the house’s anti-punk punk, with a disdain for mohawks but a love for mullets, bellbottoms, \u003ca href=\"http://ww2.kqed.org/arts/2014/12/04/video-margaret-keane-the-painter-behind-tim-burtons-big-eyes/\" target=\"_blank\" rel=\"noopener\">big-eye paintings\u003c/a> and other aesthetic relics from the 1970s. \u003c/p>\n\u003cp>Dan talked about Rod McKuen a lot, for some reason. I’d only known McKuen from what seemed like an endless supply of his albums in record-store dollar bins, and judging from the albums’ covers and abundance, had assumed him to be a dull easy-listening singer.\u003c/p>\n\u003cp>But one late night, Dan finally played me Rod McKuen—and I still remember the first track he chose, a spoken-word beat-poetry ramble called “Back to Sausalito.” \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8w7F8o-GS2I'\n title='//www.youtube.com/embed/8w7F8o-GS2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are plenty of songs about Sausalito—by \u003ca href=\"http://youtu.be/weRGNeaw4cA?t=1m\" target=\"_blank\" rel=\"noopener\">Al Martino\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i_MJ2lw60rw\" target=\"_blank\" rel=\"noopener\">Ohio Express\u003c/a>, \u003ca href=\"http://youtu.be/ZfrkWDAQpzI\" target=\"_blank\" rel=\"noopener\">Diesel\u003c/a> and more—but none of them capture the bohemian spirit of the city in the late ’60s quite like McKuen, who was born in Oakland and lived for many years in San Francisco. In just a minute and a half, McKuen mentions Sally Stanford, Zen, tattoos, sailing, folksingers, and liverwurst sandwiches, and displays a counterculture unease at the idea of prayer. In the middle of it all, he says, glibly, “I dig Sausalito.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’d go on to enjoy the off-kilter sentimentalism of Rod McKuen’s expansive output, \u003ca href=\"http://www.nytimes.com/2015/01/30/arts/rod-mckuen-prolific-poet-and-lyricist-dies-at-81.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> this week in his many obituaries. In particular, Frank Sinatra’s album of McKuen compositions, \u003cem>\u003ca href=\"http://www.allmusic.com/album/a-man-alone-other-songs-of-rod-mckuen-mw0000318826\" target=\"_blank\" rel=\"noopener\">A Man Alone\u003c/a>\u003c/em>, perfectly straddles schmaltz and insight; also, the fact that McKuen’s Stanyan Records re-released two collections of \u003ca href=\"http://www.discogs.com/No%C3%ABl-Coward-Greatest-Hits-Volume-One/release/3226922\" target=\"_blank\" rel=\"noopener\">essential early Noel Coward recordings\u003c/a>, previously only available on long out-of-print 78s, further speaks to his impact on me.\u003c/p>\n\u003cp>But it’s “Back to Sausalito” that I always think of when I think of the man. (And it’s the reason why, if you’re ever in a car with me driving along Hwy. 101 through the city, you’ll hear me drawl under my breath, “I dig Sausalito.”)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I heard that he’d died, I couldn’t find it anywhere on YouTube, so I dug out my vinyl copy and remedied that with the video above. So thanks, Dan, for introducing him to me all those years ago—and thanks to Rod McKuen, for the thousands of songs and poems.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chuck-prophet/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Chuck Prophet\u003c/h2>\n\u003cdiv class=\"event-desc\">Unstoppable songwriter celebrates new album.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chuck-prophet/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\">Chuck Prophet\u003c/a>’s last name is appropriate these days. There’s a streak of the street preacher in the San Francisco rock ‘n’ roller, warning us of our sins on his newest album, \u003cem>\u003ca href=\"http://www.theconnextion.com/chuckprophet/chuckprophet_cat.cfm?CatID=211\" target=\"_blank\" rel=\"noopener\">Night Surfer\u003c/a>\u003c/em>. But that’s not to say this gravelly voiced San Franciscan has forgotten how to play a mean guitar.\u003c/p>\n\u003cp>I talked to Prophet earlier this week for \u003ca href=\"http://ww2.kqed.org/arts/2015/01/29/radio-show-new-frequencies-deep-roots-and-the-circus/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> about his new album, the influx of money in San Francisco, and the Beatles vs. the Rolling Stones.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003cstrong>Your last album, 2012’s \u003cem>Temple Beautiful\u003c/em>, celebrated the San Francisco of decades past. What has changed?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Temple Beautiful\u003c/em> was kind of a love letter to SF and its people and history. And I just wandered off into a kind of dystopian theme, a sort of science fiction headspace about the future. And I kind of look around and, you know, I’m living in a city that’s in some ways under siege. And I imagine what’s it going to be like if I look into the future 20 years. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And I played with that idea, and I ended up doing this kind of \u003ca href=\"http://en.wikipedia.org/wiki/Glam_rock\" target=\"_blank\" rel=\"noopener\">glam-rock\u003c/a> album called \u003cem>Night Surfer\u003c/em>, which delivered some of the grandiosity that was probably missing from \u003cem>Temple Beautiful\u003c/em>, because \u003cem>Temple Beautiful\u003c/em> was basically a stripped-back record, with just two guitars, bass and drums. So on this record, we’ve got strings and horns and some kind of prog-rock and arena-rock guitars. So we just had fun with it.\u003c/p>\n\u003cp>\u003cstrong>How is it that San Francisco is becoming a dystopia?\u003c/strong>\u003c/p>\n\u003cp>I think the dystopia could be getting dragged into this big money trap, of cities like London, and Paris, and New York, where only the rich need apply. Lucky for me, we go out and tour the world, and we’ve been to Spain, where unemployment levels are just unthinkable, especially if you’re young. So I guess if you’re riding the gravy train, San Francisco’s problems are the problems to have.\u003c/p>\n\u003cp>It’s hard for me to just be a big crank about it. I’ve got all kinds of Apple products everywhere, and I even think I did the album cover with an iPhone photograph. We’re just living in an anxious time here in San Francisco, that’s all.\u003c/p>\n\u003cp>\u003cstrong>I didn’t hear any songs on the album where you’re singing “Down with Google buses.”\u003c/strong>\u003c/p>\n\u003cp>No, but I applaud anybody who’s creative enough to lay down in front of a Google bus. I think growth is normal, but when it’s unchecked it gets pretty dangerous. I live here in the Castro, lived here for 20 years or so in the same place, with my wife, for 20 years, and we do see the Castro being turned into a strip mall. And luckily we have a great neighborhood association, which got Chipotle out of the neighborhood. \u003c/p>\n\u003cp>Then again, it’s rock and roll. It’s not journalism. We don’t exactly have a fact-checker. But I think there’s an anxious spirit to it.\u003c/p>\n\u003cp>\u003cstrong>Some of your compatriots have moved to Los Angeles or Vallejo, where it’s cheaper.\u003cbr>\nHow come you stick around?\u003c/strong>\u003c/p>\n\u003cp>Probably rent control. We live a very simple life, and I just love this city. It’s been an education for me. Because I grew up in a suburb of LA,, where on my grammar school field trip they took us to Richard Nixon’s first law office. And I grew up in a household where I begged for guitar lessons, and my dad, one Saturday, took me for golfing lessons.\u003c/p>\n\u003cp>\u003cstrong>Where did the new album title come from?\u003c/strong>\u003c/p>\n\u003cp>I had a song that got discarded called “Night Surfing,” and someone in the studio just started referring to me as the Night Surfer. And actually, when I was growing up as a kid, I used to surf at Huntington Pier in Orange County at night. We had an older friend in the neighborhood who would drop me and some friends off at the Pier when we were 14, and we would just stay up all night, surfing the Huntington Pier. You know, there’s lights, so it’s not totally dangerous. But to think about it now and wonder, where were the parents? At a certain age, you feel immortal.\u003c/p>\n\u003cp>\u003cstrong>What happened to the song, why isn’t it on the new album?\u003c/strong>\u003c/p>\n\u003cp>Just one of those songs that didn’t behave, it didn’t assert itself. You know, you have to stand up for yourself if you want to make the cut on a Chuck Prophet record.\u003c/p>\n\u003cp>\u003cstrong>Tell me about the first song: “\u003ca href=\"https://www.youtube.com/watch?v=JTJrpH3m_x4\" target=\"_blank\" rel=\"noopener\">Countrified Inner-City Technological Man\u003c/a>.” Is that you?\u003c/strong>\u003c/p>\n\u003cp>Yeah, I always wanted one of those long titles. I was just walking around 16th and Mission, and I kind of wrote that in my head, and by the time I got to Market and Noe, I had the first and second verse, and got in the house and finished it. Yeah. It was a good day. \u003c/p>\n\u003cp>\u003cstrong>So \u003cem>Temple Beautiful\u003c/em> was very stripped down. This new album has horns and strings. Why the change?\u003c/strong>\u003c/p>\n\u003cp>Every album is a reaction to the last one. This time around, we just wanted to glam it up a bit.\u003c/p>\n\u003cp>\u003cstrong>You finish with the song “Love is the Only Thing.” Why is that the last song on the album?\u003c/strong> \u003c/p>\n\u003cp>That song actually got left off \u003cem>Temple Beautiful\u003c/em>, and it just got to that verse, “There’s a rainbow in the gutter, dew drops on the shutters.” And it just felt like it was the final scene in the movie. Like when \u003ca href=\"http://www.imdb.com/title/tt0063442/\" target=\"_blank\" rel=\"noopener\">Charlton Heston was shaking his fist at the Statue of Liberty\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The title, “\u003ca href=\"https://www.youtube.com/watch?v=mNEB49SOUsM\" target=\"_blank\" rel=\"noopener\">Love is the Only Thing\u003c/a>,” sounds very Beatles, but the song sounds more Rolling Stones.\u003c/strong> \u003c/p>\n\u003cp>I have to always be a Stones guy. I have yet to write anything approaching \u003ca href=\"http://www.dailymail.co.uk/femail/article-1088454/REVEALED-The-haunting-life-story-pops-famous-songs--Eleanor-Rigby.html\" target=\"_blank\" rel=\"noopener\">Elanor Rigby\u003c/a>, melodically, but I’ve rewritten \u003ca href=\"http://en.wikipedia.org/wiki/Street_Fighting_Man\" target=\"_blank\" rel=\"noopener\">Street Fighting Man\u003c/a> 100 different ways, and it’s never let me down.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Chuck Prophet and his band the Mission Express play \u003ca href=\"http://www.slimspresents.com/events/2015-01-31/chuck-prophet-and-the-mission-express/\">City Winery in Napa\u003c/a> on Friday, Jan. 30, and the \u003ca href=\"http://www.slimspresents.com/events/2015-01-31/chuck-prophet-and-the-mission-express/\">Great American Music Hall\u003c/a> in San Francisco on Saturday, Jan. 31.\u003c/em> \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/chuck-prophet/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Chuck Prophet\u003c/h2>\n\u003cdiv class=\"event-desc\">Unstoppable songwriter celebrates new album.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chuck-prophet/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\">Chuck Prophet\u003c/a>’s last name is appropriate these days. There’s a streak of the street preacher in the San Francisco rock ‘n’ roller, warning us of our sins on his newest album, \u003cem>\u003ca href=\"http://www.theconnextion.com/chuckprophet/chuckprophet_cat.cfm?CatID=211\" target=\"_blank\" rel=\"noopener\">Night Surfer\u003c/a>\u003c/em>. But that’s not to say this gravelly voiced San Franciscan has forgotten how to play a mean guitar.\u003c/p>\n\u003cp>I talked to Prophet earlier this week for \u003ca href=\"http://ww2.kqed.org/arts/2015/01/29/radio-show-new-frequencies-deep-roots-and-the-circus/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> about his new album, the influx of money in San Francisco, and the Beatles vs. the Rolling Stones.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003cstrong>Your last album, 2012’s \u003cem>Temple Beautiful\u003c/em>, celebrated the San Francisco of decades past. What has changed?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Temple Beautiful\u003c/em> was kind of a love letter to SF and its people and history. And I just wandered off into a kind of dystopian theme, a sort of science fiction headspace about the future. And I kind of look around and, you know, I’m living in a city that’s in some ways under siege. And I imagine what’s it going to be like if I look into the future 20 years. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And I played with that idea, and I ended up doing this kind of \u003ca href=\"http://en.wikipedia.org/wiki/Glam_rock\" target=\"_blank\" rel=\"noopener\">glam-rock\u003c/a> album called \u003cem>Night Surfer\u003c/em>, which delivered some of the grandiosity that was probably missing from \u003cem>Temple Beautiful\u003c/em>, because \u003cem>Temple Beautiful\u003c/em> was basically a stripped-back record, with just two guitars, bass and drums. So on this record, we’ve got strings and horns and some kind of prog-rock and arena-rock guitars. So we just had fun with it.\u003c/p>\n\u003cp>\u003cstrong>How is it that San Francisco is becoming a dystopia?\u003c/strong>\u003c/p>\n\u003cp>I think the dystopia could be getting dragged into this big money trap, of cities like London, and Paris, and New York, where only the rich need apply. Lucky for me, we go out and tour the world, and we’ve been to Spain, where unemployment levels are just unthinkable, especially if you’re young. So I guess if you’re riding the gravy train, San Francisco’s problems are the problems to have.\u003c/p>\n\u003cp>It’s hard for me to just be a big crank about it. I’ve got all kinds of Apple products everywhere, and I even think I did the album cover with an iPhone photograph. We’re just living in an anxious time here in San Francisco, that’s all.\u003c/p>\n\u003cp>\u003cstrong>I didn’t hear any songs on the album where you’re singing “Down with Google buses.”\u003c/strong>\u003c/p>\n\u003cp>No, but I applaud anybody who’s creative enough to lay down in front of a Google bus. I think growth is normal, but when it’s unchecked it gets pretty dangerous. I live here in the Castro, lived here for 20 years or so in the same place, with my wife, for 20 years, and we do see the Castro being turned into a strip mall. And luckily we have a great neighborhood association, which got Chipotle out of the neighborhood. \u003c/p>\n\u003cp>Then again, it’s rock and roll. It’s not journalism. We don’t exactly have a fact-checker. But I think there’s an anxious spirit to it.\u003c/p>\n\u003cp>\u003cstrong>Some of your compatriots have moved to Los Angeles or Vallejo, where it’s cheaper.\u003cbr>\nHow come you stick around?\u003c/strong>\u003c/p>\n\u003cp>Probably rent control. We live a very simple life, and I just love this city. It’s been an education for me. Because I grew up in a suburb of LA,, where on my grammar school field trip they took us to Richard Nixon’s first law office. And I grew up in a household where I begged for guitar lessons, and my dad, one Saturday, took me for golfing lessons.\u003c/p>\n\u003cp>\u003cstrong>Where did the new album title come from?\u003c/strong>\u003c/p>\n\u003cp>I had a song that got discarded called “Night Surfing,” and someone in the studio just started referring to me as the Night Surfer. And actually, when I was growing up as a kid, I used to surf at Huntington Pier in Orange County at night. We had an older friend in the neighborhood who would drop me and some friends off at the Pier when we were 14, and we would just stay up all night, surfing the Huntington Pier. You know, there’s lights, so it’s not totally dangerous. But to think about it now and wonder, where were the parents? At a certain age, you feel immortal.\u003c/p>\n\u003cp>\u003cstrong>What happened to the song, why isn’t it on the new album?\u003c/strong>\u003c/p>\n\u003cp>Just one of those songs that didn’t behave, it didn’t assert itself. You know, you have to stand up for yourself if you want to make the cut on a Chuck Prophet record.\u003c/p>\n\u003cp>\u003cstrong>Tell me about the first song: “\u003ca href=\"https://www.youtube.com/watch?v=JTJrpH3m_x4\" target=\"_blank\" rel=\"noopener\">Countrified Inner-City Technological Man\u003c/a>.” Is that you?\u003c/strong>\u003c/p>\n\u003cp>Yeah, I always wanted one of those long titles. I was just walking around 16th and Mission, and I kind of wrote that in my head, and by the time I got to Market and Noe, I had the first and second verse, and got in the house and finished it. Yeah. It was a good day. \u003c/p>\n\u003cp>\u003cstrong>So \u003cem>Temple Beautiful\u003c/em> was very stripped down. This new album has horns and strings. Why the change?\u003c/strong>\u003c/p>\n\u003cp>Every album is a reaction to the last one. This time around, we just wanted to glam it up a bit.\u003c/p>\n\u003cp>\u003cstrong>You finish with the song “Love is the Only Thing.” Why is that the last song on the album?\u003c/strong> \u003c/p>\n\u003cp>That song actually got left off \u003cem>Temple Beautiful\u003c/em>, and it just got to that verse, “There’s a rainbow in the gutter, dew drops on the shutters.” And it just felt like it was the final scene in the movie. Like when \u003ca href=\"http://www.imdb.com/title/tt0063442/\" target=\"_blank\" rel=\"noopener\">Charlton Heston was shaking his fist at the Statue of Liberty\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The title, “\u003ca href=\"https://www.youtube.com/watch?v=mNEB49SOUsM\" target=\"_blank\" rel=\"noopener\">Love is the Only Thing\u003c/a>,” sounds very Beatles, but the song sounds more Rolling Stones.\u003c/strong> \u003c/p>\n\u003cp>I have to always be a Stones guy. I have yet to write anything approaching \u003ca href=\"http://www.dailymail.co.uk/femail/article-1088454/REVEALED-The-haunting-life-story-pops-famous-songs--Eleanor-Rigby.html\" target=\"_blank\" rel=\"noopener\">Elanor Rigby\u003c/a>, melodically, but I’ve rewritten \u003ca href=\"http://en.wikipedia.org/wiki/Street_Fighting_Man\" target=\"_blank\" rel=\"noopener\">Street Fighting Man\u003c/a> 100 different ways, and it’s never let me down.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Chuck Prophet and his band the Mission Express play \u003ca href=\"http://www.slimspresents.com/events/2015-01-31/chuck-prophet-and-the-mission-express/\">City Winery in Napa\u003c/a> on Friday, Jan. 30, and the \u003ca href=\"http://www.slimspresents.com/events/2015-01-31/chuck-prophet-and-the-mission-express/\">Great American Music Hall\u003c/a> in San Francisco on Saturday, Jan. 31.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is DJ QBert of This Earth?",
"headTitle": "Is DJ QBert of This Earth? | 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/dj-qbert/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>DJ QBert\u003c/h2>\n\u003cdiv class=\"event-desc\">Turntable innovator plays rare headlining show.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/dj-qbert/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>There are DJs, and then there are \u003cem>DJs\u003c/em>, and then there’s DJ QBert.\u003c/p>\n\u003cp>Sources say QBert grew up in San Francisco, born with the name Richard Quitevis, graduating in 1987 from Balboa High. Those sources are wrong: DJ QBert is from another galaxy, sent here by shapeshifting overlords of extraterrestrial intellect to reimagine the trajectory of the turntable as an instrument for those on planet Earth.\u003c/p>\n\u003cp>It sometimes feels that way, doesn’t it? With his Invisibl Skratch Piklz crew, QBert pioneered the \u003ca href=\"https://www.youtube.com/watch?v=GQ3N6XADe9I\" target=\"_blank\" rel=\"noopener\">presentation of a turntable “band,”\u003c/a> with fellow cohorts Mix Master Mike and Shortkut cutting drum sounds and other layers in synchronized arrangements akin to classical-music charts. With \u003cem>Wave Twisters\u003c/em>, QBert composed not only the greatest scratch album of all time, he synced each individual sound on the longform composition to \u003ca href=\"http://youtu.be/ynJWTRl8fY0\" target=\"_blank\" rel=\"noopener\">an animated feature\u003c/a> that became an instant cult classic. He’s developed more scratch techniques than anyone can keep track of, he’s designed his own mixer, slipmat and cartridge, he hosts the \u003ca href=\"http://artistworks.com/skratch-lessons-dj-qbert\" target=\"_blank\" rel=\"noopener\">Online Skratch University\u003c/a>, and he’s never run out of ways to make that evergreen sample, “\u003ca href=\"http://digitaldjtools.net/samples/classic-scratch-samples/\" target=\"_blank\" rel=\"noopener\">FFFREEEEEEESSSSHHH\u003c/a>,” sound brand-new.\u003c/p>\n\u003cp>DJ QBert doesn’t headline much in the Bay Area these days—he was last seen onstage with El-P and Killer Mike at Outside Lands last year, sitting in on a song—which makes tonight’s show at the New Parish all the more enticing. And his innovation hasn’t slowed one bit: two new albums, \u003cem>Extraterrestria\u003c/em> and \u003cem>GalaXXXian\u003c/em>, prove that he’s still light years ahead of the rest, both musically and aesthetically. In a move that should easily win a Grammy Award for Best Limited Edition Package, the gatefold vinyl version of Extraterrestria combines Algoriddim’s DJay app and Novalia’s touch technology to double as a playable DJ setup.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=YCAzEh6Wyj8&w=560&h=315]\u003c/p>\n\u003cp>For those who can’t make the Jan. 29 Oakland show, DJ QBert also plays \u003ca href=\"http://www.inticketing.com/events/457574/Winter-scratch-off-ft-Dj-qbert/?r=affi&u=255051\" target=\"_blank\" rel=\"noopener\">Friday, Jan. 30 at 755 After Dark in Sebastopol\u003c/a>. After that, there’s no telling where he’ll turn up next—but it might not be on this planet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\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/dj-qbert/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>DJ QBert\u003c/h2>\n\u003cdiv class=\"event-desc\">Turntable innovator plays rare headlining show.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/dj-qbert/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>There are DJs, and then there are \u003cem>DJs\u003c/em>, and then there’s DJ QBert.\u003c/p>\n\u003cp>Sources say QBert grew up in San Francisco, born with the name Richard Quitevis, graduating in 1987 from Balboa High. Those sources are wrong: DJ QBert is from another galaxy, sent here by shapeshifting overlords of extraterrestrial intellect to reimagine the trajectory of the turntable as an instrument for those on planet Earth.\u003c/p>\n\u003cp>It sometimes feels that way, doesn’t it? With his Invisibl Skratch Piklz crew, QBert pioneered the \u003ca href=\"https://www.youtube.com/watch?v=GQ3N6XADe9I\" target=\"_blank\" rel=\"noopener\">presentation of a turntable “band,”\u003c/a> with fellow cohorts Mix Master Mike and Shortkut cutting drum sounds and other layers in synchronized arrangements akin to classical-music charts. With \u003cem>Wave Twisters\u003c/em>, QBert composed not only the greatest scratch album of all time, he synced each individual sound on the longform composition to \u003ca href=\"http://youtu.be/ynJWTRl8fY0\" target=\"_blank\" rel=\"noopener\">an animated feature\u003c/a> that became an instant cult classic. He’s developed more scratch techniques than anyone can keep track of, he’s designed his own mixer, slipmat and cartridge, he hosts the \u003ca href=\"http://artistworks.com/skratch-lessons-dj-qbert\" target=\"_blank\" rel=\"noopener\">Online Skratch University\u003c/a>, and he’s never run out of ways to make that evergreen sample, “\u003ca href=\"http://digitaldjtools.net/samples/classic-scratch-samples/\" target=\"_blank\" rel=\"noopener\">FFFREEEEEEESSSSHHH\u003c/a>,” sound brand-new.\u003c/p>\n\u003cp>DJ QBert doesn’t headline much in the Bay Area these days—he was last seen onstage with El-P and Killer Mike at Outside Lands last year, sitting in on a song—which makes tonight’s show at the New Parish all the more enticing. And his innovation hasn’t slowed one bit: two new albums, \u003cem>Extraterrestria\u003c/em> and \u003cem>GalaXXXian\u003c/em>, prove that he’s still light years ahead of the rest, both musically and aesthetically. In a move that should easily win a Grammy Award for Best Limited Edition Package, the gatefold vinyl version of Extraterrestria combines Algoriddim’s DJay app and Novalia’s touch technology to double as a playable DJ setup.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YCAzEh6Wyj8'\n title='//www.youtube.com/embed/YCAzEh6Wyj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who can’t make the Jan. 29 Oakland show, DJ QBert also plays \u003ca href=\"http://www.inticketing.com/events/457574/Winter-scratch-off-ft-Dj-qbert/?r=affi&u=255051\" target=\"_blank\" rel=\"noopener\">Friday, Jan. 30 at 755 After Dark in Sebastopol\u003c/a>. After that, there’s no telling where he’ll turn up next—but it might not be on this planet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With over a decade of recording, touring and performing under their belts, the folk-punk duo Two Gallants aren’t just one of San Francisco’s longest-running indie bands—they’re a Bay Area institution. Next week, on Feb. 3, the band releases their fifth full-length album, \u003cem>We Are Undone\u003c/em>, celebrating with \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">three separate shows in San Francisco and Oakland\u003c/a>.\u003c/p>\n\u003cp>For this episode of KQED’s performance series Main Stage, we caught up with Two Gallants at Cafe Van Kleef, a well-worn bar in downtown Oakland, the type of dusty, dark place that has fertilized the band’s alternately hard-edged and sentimental music over the years. Looking up at the high ceilings upon arrival, drummer Tyson Vogel cracked a wry smile. “I’ve spent many a debaucherous evening here.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch3>Two Gallants play “My Man Go”\u003c/h3>\n\u003cp>[youtube=https://www.youtube.com/watch?v=WafFwJ9bKrg&w=640&h=385]\u003c/p>\n\u003cp class=\"wp-caption-text\">“My Man Go,” a love-gone-wrong song with some lovely guitar work by Adam Stephens, represents the more folky side of the Two Gallants’ catalog. It’s another track from the new album, \u003ci>We Are Undone\u003c/i>.\u003c/p>\n\u003c/aside>\n\u003cp>Soon, guitarist and lead vocalist Adam Stephens showed up, and before premiering the live debut of two new songs, “Incidental” and “My Man Go,” the two friends—who’ve known each other since they were five years old—sidled up to the bar to talk about \u003cem>We Are Undone\u003c/em>.\u003c/p>\n\u003cp>Commenting on the album title, Stephens observed that “I think that we’ve reached a point where a lot of our actions show an inability to take pause, to actually step back and take a break from that kind of grinding towards nowhere, and it’s left us literally undone and coming apart.” Such existential thoughts might have come from the drastic changes the band has seen in their hometown, and especially the Mission District, where the two got their start busking at the 16th & Mission BART station. Vogel still lives in San Francisco, but Stephens, like so many other musicians, has hightailed it to the East Bay.\u003c/p>\n\u003cp>“San Francisco means a lot to us,” Stephens says. “We’ve always really taken pride in coming from there. To have that altered before your eyes and be powerless to alter it—pretty much against culture and art, and tearing apart the diversity of the city—is really hard to witness and emotional.”\u003c/p>\n\u003cfigure id=\"attachment_10345326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg\" alt=\"Two Gallants on stage at Oakland's Cafe Van Kleef. (Photo: Sara Sanger)\" width=\"800\" height=\"533\" class=\"size-full wp-image-10345326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Gallants on stage at Oakland’s Cafe Van Kleef. (Photo: Sara Sanger)\u003c/figcaption>\u003c/figure>\n\u003cp>Vogel echoes the worry of homogenization: “We’ve been away from home for a long time. We’ve had this opportunity to see places around the world…. And it’s hard to see a place like San Francisco, which is so unlike any place in the world, start to have an aesthetic that, like, blends in.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, as the band hit the stage, it became evident that no tech boom is about to slow down their thunderous presence. While the duo was blasting through “Incidental,” a sharp melodic blast with conventional structure (“probably the shortest song we’ve ever recorded,” said Vogel), the neighbors showed up to ask about the ruckus. “My Man Go,” with its languorous guitar melody and weary submission, showed that Two Gallants still excel at long ruminations of the human heart.\u003c/p>\n\u003cp>After three kickoff shows in the Bay Area (Feb. 5 at Leo’s Music Club; Feb. 6 at the Chapel; and Feb. 7 at the Great American Music Hall), the band heads out on a \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">European and U.S. tour\u003c/a> that’ll keep them in a van together, playing shows nearly every night, for the next three and a half months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s hard to know what or why keeps us playing together,” Stephens says about their ongoing legacy. “Pretty much most bands don’t last more than a few years. The fact that we have this foundation of childhood is like… it’s almost like we can’t escape each other.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With over a decade of recording, touring and performing under their belts, the folk-punk duo Two Gallants aren’t just one of San Francisco’s longest-running indie bands—they’re a Bay Area institution. Next week, on Feb. 3, the band releases their fifth full-length album, \u003cem>We Are Undone\u003c/em>, celebrating with \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">three separate shows in San Francisco and Oakland\u003c/a>.\u003c/p>\n\u003cp>For this episode of KQED’s performance series Main Stage, we caught up with Two Gallants at Cafe Van Kleef, a well-worn bar in downtown Oakland, the type of dusty, dark place that has fertilized the band’s alternately hard-edged and sentimental music over the years. Looking up at the high ceilings upon arrival, drummer Tyson Vogel cracked a wry smile. “I’ve spent many a debaucherous evening here.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch3>Two Gallants play “My Man Go”\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WafFwJ9bKrg'\n title='//www.youtube.com/embed/WafFwJ9bKrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp class=\"wp-caption-text\">“My Man Go,” a love-gone-wrong song with some lovely guitar work by Adam Stephens, represents the more folky side of the Two Gallants’ catalog. It’s another track from the new album, \u003ci>We Are Undone\u003c/i>.\u003c/p>\n\u003c/aside>\n\u003cp>Soon, guitarist and lead vocalist Adam Stephens showed up, and before premiering the live debut of two new songs, “Incidental” and “My Man Go,” the two friends—who’ve known each other since they were five years old—sidled up to the bar to talk about \u003cem>We Are Undone\u003c/em>.\u003c/p>\n\u003cp>Commenting on the album title, Stephens observed that “I think that we’ve reached a point where a lot of our actions show an inability to take pause, to actually step back and take a break from that kind of grinding towards nowhere, and it’s left us literally undone and coming apart.” Such existential thoughts might have come from the drastic changes the band has seen in their hometown, and especially the Mission District, where the two got their start busking at the 16th & Mission BART station. Vogel still lives in San Francisco, but Stephens, like so many other musicians, has hightailed it to the East Bay.\u003c/p>\n\u003cp>“San Francisco means a lot to us,” Stephens says. “We’ve always really taken pride in coming from there. To have that altered before your eyes and be powerless to alter it—pretty much against culture and art, and tearing apart the diversity of the city—is really hard to witness and emotional.”\u003c/p>\n\u003cfigure id=\"attachment_10345326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg\" alt=\"Two Gallants on stage at Oakland's Cafe Van Kleef. (Photo: Sara Sanger)\" width=\"800\" height=\"533\" class=\"size-full wp-image-10345326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/TwoGallantsInline-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Gallants on stage at Oakland’s Cafe Van Kleef. (Photo: Sara Sanger)\u003c/figcaption>\u003c/figure>\n\u003cp>Vogel echoes the worry of homogenization: “We’ve been away from home for a long time. We’ve had this opportunity to see places around the world…. And it’s hard to see a place like San Francisco, which is so unlike any place in the world, start to have an aesthetic that, like, blends in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, as the band hit the stage, it became evident that no tech boom is about to slow down their thunderous presence. While the duo was blasting through “Incidental,” a sharp melodic blast with conventional structure (“probably the shortest song we’ve ever recorded,” said Vogel), the neighbors showed up to ask about the ruckus. “My Man Go,” with its languorous guitar melody and weary submission, showed that Two Gallants still excel at long ruminations of the human heart.\u003c/p>\n\u003cp>After three kickoff shows in the Bay Area (Feb. 5 at Leo’s Music Club; Feb. 6 at the Chapel; and Feb. 7 at the Great American Music Hall), the band heads out on a \u003ca href=\"http://www.twogallants.com/shows/\" target=\"_blank\" rel=\"noopener\">European and U.S. tour\u003c/a> that’ll keep them in a van together, playing shows nearly every night, for the next three and a half months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s hard to know what or why keeps us playing together,” Stephens says about their ongoing legacy. “Pretty much most bands don’t last more than a few years. The fact that we have this foundation of childhood is like… it’s almost like we can’t escape each other.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eric-harland-residency/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Eric Harland Residency\u003c/h2>\n\u003cdiv class=\"event-desc\">Jazz drummer leads multiple groups.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 29–Feb. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eric-harland-residency/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In jazz’s accelerated evolution, a generation flies by every five or 10 years, and each era can be defined largely by a handful of innovative drummers. And in the 21st century, no musician has staked a better claim as this generation’s most influential trap set explorer than Eric Harland.\u003c/p>\n\u003cp>Thankfully, Bay Area music lovers have had plenty of opportunities to witness Harland’s ascent via his numerous gigs with veteran masters like Charles Lloyd, McCoy Tyner, and Terence Blanchard, and his eight-year tenure in the SFJAZZ Collective (2005-2012).\u003c/p>\n\u003cp>Harland’s relationship with SFJAZZ enters a tantalizing new phase with his first round of programming as one of the organization’s four Resident Artistic Directors (along with Blanchard, Zakir Hussain, and Esperanza Spalding). The four-night run kicks off Thursday, Jan. 29, with TEJ, a new trio featuring pianist Taylor Eigsti and guitarist \u003ca href=\"http://ww2.kqed.org/arts/2015/01/18/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage/\" target=\"_blank\" rel=\"noopener\">Julian Lage\u003c/a>, both Bay Area-raised prodigies who transitioned musically into young adulthood with uncommon grace. On Friday, Jan. 30, Harland celebrates the release of \u003cem>Vipassana\u003c/em>, the second album by Voyager, his atmospheric ensemble showcasing a daunting cross-section of top New York players (Voyager also performs Monday, Feb. 2, at Kuumbwa in Santa Cruz). \u003c/p>\n\u003cp>In addition to Lage and Eigsti, Voyager brings together tenor saxophonist Walter Smith III, guitarist Nir Felder, bassist Harish Raghavan and vocalist Chris Turner. Where the band’s first album, 2010’s \u003cem>Live By Night\u003c/em>, featured a quintet playing intricate, high-energy music in concert, Harland expanded the ensemble and pared down the tunes for the second album, a studio recording marked by simple, almost folky melodies, spacious textures, and hip-hop inflected beats. \u003c/p>\n\u003cp>“I wanted it to be completely different in sound and message,” says Harland, 36, speaking from his home in rural Pennsylvania, about an hour north of Philadelphia. “I wanted to capture what we do and hear musically in a current, meditative context.”\u003c/p>\n\u003cfigure id=\"attachment_10339967\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/HarlandFootball1.jpg\" alt=\"Eric Harland and friend test-drive the video-game setup at SFJAZZ's Miner Auditorium. (Photo: Ross Eustis)\" width=\"640\" height=\"508\" class=\"size-full wp-image-10339967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/HarlandFootball1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/HarlandFootball1-400x318.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Eric Harland and friend test-drive the video-game setup at SFJAZZ’s Miner Auditorium. (Photo: Ross Eustis)\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday, Jan. 31, Harland joins forces with the Grammy-winning R&B combo Snarky Puppy, and he closes the run on Sunday, Feb. 1, with his most unlikely gambit. In an experiment that could just as easily turn into a fiasco as open up new frontiers for improvisation, an expansive ensemble drawn from Voyager and Snarky Puppy interacts musically with two top video gamers, Mr. Finesse and Panoramic, facing off in a \u003cem>Madden NFL 15\u003c/em> match-up accompanied by live commentators Daniel Rovin and T. Lew. For Harland, the concept flows from his personal passion for football and a long-standing relationship with video games that he passed on to his 13-year-old son. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I see how he’s able to communicate with his friends,” Harland says. “It’s a whole social structure now. He’s got friends everywhere, and they can play against each other. It’s also an art, the way they play it, and get creative. I wanted to take what’s creative about gaming and what’s creative about playing football and commentating, and add live music into the mix. I have no idea what it’s going to sound like. But I haven’t had any idea of what anything I’m going to do sounds like.”\u003c/p>\n\u003cp>You could see Sunday’s concert as part of a long-running dialogue with pianist Jason Moran, the MacArthur “Genius” Fellow, former SFJAZZ Resident Artistic Director, and childhood buddy of Harland’s from their days at Houston’s vaunted High School for the Performing and Visual Arts (other alumni include Beyoncé, Robert Glasper, Helen Sung, and Voyager’s Smith). In his first residency season, Moran booked two nights at SFJAZZ’s Miner Auditorium featuring \u003ca href=\"http://citysound.bohemian.com/2013/05/05/live-review-jason-moran-and-live-skateboarding-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">his band accompanying Bay Area skateboarders\u003c/a>, complete with a specially constructed halfpipe on the theater’s floor. The encounter was successful enough artistically and commercially (selling out both shows) that he reprised the event in his second residency season. Harland, for one, didn’t raise an eyebrow when he heard about the unprecedented pairing. \u003c/p>\n\u003cp>“Nope, it didn’t surprise,” he says. “We all loved to skate. It was always warm outside in Houston and you found a lot of activities. I knew with Jason, it was a matter of time before he combined a childhood memory with music. And at the High School for the Performing and Visual Arts we had this thing called the Happening. Every day during lunch, any department could put on a show during lunchtime. We were always encouraged to be creative and explore different possibilities, to just try something new. Jason was just putting on a Happening.”\u003c/p>\n\u003cp>Part of what sets Harland apart from his prodigiously talented drumming peers is his combination of power and finesse, his incisive melodicism, and his uncanny ability to anticipate and shape the flow of bandstand interaction. Among his colleagues, his gift for elevating the energy on stage has come to be called “the Harland Effect,” says Eigsti, who’s also recording a live solo piano album at Piedmont Piano on Thursday, Feb. 12. \u003c/p>\n\u003cp>“It’s not only the level of intensity, it’s the mentality of dying for it, playing every note like it’s the last,” Eigsti says. “I get a chance to play with so many awesome musicians, but he’s one who leaves this lasting impact.” \u003c/p>\n\u003cp>It’s a quality recognized by his elders as well as his contemporaries. Harland took over jazz’s most august drum chair when he joined Charles Lloyd’s New Quartet following the death of drum legend Billy Higgins. He’s forged such a deep creative bond with Lloyd that the tenor sax star recruited him for the trio Sangam, with tabla maestro Zakir Hussain, who calls Harland “one of the finest drummers of our time.”\u003c/p>\n\u003cp>For Hussain, Harland isn’t an anomaly. He’s part of an international percussion phenomenon stretching from the New York City and the Caribbean to Mumbai and Chennai. “There’s a parallel here: in India and in the West, the level of drumming has suddenly shot up a hundredfold,” Hussain says. “There are so many great drummers here playing jazz, coming out of Houston or Boston or wherever. And they’re playing incredible. They just knock your socks off.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The fact that Harland stands out even amidst this profusion of talent makes him an inspired choice for SFJAZZ, while his insatiable musical curiosity means there’s no telling what he’ll do next. \u003c/p>\n\n",
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"excerpt": "Who would ever think to pair live jazz with projected video-game play of \u003cem>NFL Madden 15\u003c/em>? Jazz's most exciting drummer, Eric Harland, that's who.",
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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/eric-harland-residency/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Eric Harland Residency\u003c/h2>\n\u003cdiv class=\"event-desc\">Jazz drummer leads multiple groups.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 29–Feb. 1, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eric-harland-residency/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In jazz’s accelerated evolution, a generation flies by every five or 10 years, and each era can be defined largely by a handful of innovative drummers. And in the 21st century, no musician has staked a better claim as this generation’s most influential trap set explorer than Eric Harland.\u003c/p>\n\u003cp>Thankfully, Bay Area music lovers have had plenty of opportunities to witness Harland’s ascent via his numerous gigs with veteran masters like Charles Lloyd, McCoy Tyner, and Terence Blanchard, and his eight-year tenure in the SFJAZZ Collective (2005-2012).\u003c/p>\n\u003cp>Harland’s relationship with SFJAZZ enters a tantalizing new phase with his first round of programming as one of the organization’s four Resident Artistic Directors (along with Blanchard, Zakir Hussain, and Esperanza Spalding). The four-night run kicks off Thursday, Jan. 29, with TEJ, a new trio featuring pianist Taylor Eigsti and guitarist \u003ca href=\"http://ww2.kqed.org/arts/2015/01/18/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage/\" target=\"_blank\" rel=\"noopener\">Julian Lage\u003c/a>, both Bay Area-raised prodigies who transitioned musically into young adulthood with uncommon grace. On Friday, Jan. 30, Harland celebrates the release of \u003cem>Vipassana\u003c/em>, the second album by Voyager, his atmospheric ensemble showcasing a daunting cross-section of top New York players (Voyager also performs Monday, Feb. 2, at Kuumbwa in Santa Cruz). \u003c/p>\n\u003cp>In addition to Lage and Eigsti, Voyager brings together tenor saxophonist Walter Smith III, guitarist Nir Felder, bassist Harish Raghavan and vocalist Chris Turner. Where the band’s first album, 2010’s \u003cem>Live By Night\u003c/em>, featured a quintet playing intricate, high-energy music in concert, Harland expanded the ensemble and pared down the tunes for the second album, a studio recording marked by simple, almost folky melodies, spacious textures, and hip-hop inflected beats. \u003c/p>\n\u003cp>“I wanted it to be completely different in sound and message,” says Harland, 36, speaking from his home in rural Pennsylvania, about an hour north of Philadelphia. “I wanted to capture what we do and hear musically in a current, meditative context.”\u003c/p>\n\u003cfigure id=\"attachment_10339967\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/HarlandFootball1.jpg\" alt=\"Eric Harland and friend test-drive the video-game setup at SFJAZZ's Miner Auditorium. (Photo: Ross Eustis)\" width=\"640\" height=\"508\" class=\"size-full wp-image-10339967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/HarlandFootball1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/HarlandFootball1-400x318.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Eric Harland and friend test-drive the video-game setup at SFJAZZ’s Miner Auditorium. (Photo: Ross Eustis)\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday, Jan. 31, Harland joins forces with the Grammy-winning R&B combo Snarky Puppy, and he closes the run on Sunday, Feb. 1, with his most unlikely gambit. In an experiment that could just as easily turn into a fiasco as open up new frontiers for improvisation, an expansive ensemble drawn from Voyager and Snarky Puppy interacts musically with two top video gamers, Mr. Finesse and Panoramic, facing off in a \u003cem>Madden NFL 15\u003c/em> match-up accompanied by live commentators Daniel Rovin and T. Lew. For Harland, the concept flows from his personal passion for football and a long-standing relationship with video games that he passed on to his 13-year-old son. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see how he’s able to communicate with his friends,” Harland says. “It’s a whole social structure now. He’s got friends everywhere, and they can play against each other. It’s also an art, the way they play it, and get creative. I wanted to take what’s creative about gaming and what’s creative about playing football and commentating, and add live music into the mix. I have no idea what it’s going to sound like. But I haven’t had any idea of what anything I’m going to do sounds like.”\u003c/p>\n\u003cp>You could see Sunday’s concert as part of a long-running dialogue with pianist Jason Moran, the MacArthur “Genius” Fellow, former SFJAZZ Resident Artistic Director, and childhood buddy of Harland’s from their days at Houston’s vaunted High School for the Performing and Visual Arts (other alumni include Beyoncé, Robert Glasper, Helen Sung, and Voyager’s Smith). In his first residency season, Moran booked two nights at SFJAZZ’s Miner Auditorium featuring \u003ca href=\"http://citysound.bohemian.com/2013/05/05/live-review-jason-moran-and-live-skateboarding-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">his band accompanying Bay Area skateboarders\u003c/a>, complete with a specially constructed halfpipe on the theater’s floor. The encounter was successful enough artistically and commercially (selling out both shows) that he reprised the event in his second residency season. Harland, for one, didn’t raise an eyebrow when he heard about the unprecedented pairing. \u003c/p>\n\u003cp>“Nope, it didn’t surprise,” he says. “We all loved to skate. It was always warm outside in Houston and you found a lot of activities. I knew with Jason, it was a matter of time before he combined a childhood memory with music. And at the High School for the Performing and Visual Arts we had this thing called the Happening. Every day during lunch, any department could put on a show during lunchtime. We were always encouraged to be creative and explore different possibilities, to just try something new. Jason was just putting on a Happening.”\u003c/p>\n\u003cp>Part of what sets Harland apart from his prodigiously talented drumming peers is his combination of power and finesse, his incisive melodicism, and his uncanny ability to anticipate and shape the flow of bandstand interaction. Among his colleagues, his gift for elevating the energy on stage has come to be called “the Harland Effect,” says Eigsti, who’s also recording a live solo piano album at Piedmont Piano on Thursday, Feb. 12. \u003c/p>\n\u003cp>“It’s not only the level of intensity, it’s the mentality of dying for it, playing every note like it’s the last,” Eigsti says. “I get a chance to play with so many awesome musicians, but he’s one who leaves this lasting impact.” \u003c/p>\n\u003cp>It’s a quality recognized by his elders as well as his contemporaries. Harland took over jazz’s most august drum chair when he joined Charles Lloyd’s New Quartet following the death of drum legend Billy Higgins. He’s forged such a deep creative bond with Lloyd that the tenor sax star recruited him for the trio Sangam, with tabla maestro Zakir Hussain, who calls Harland “one of the finest drummers of our time.”\u003c/p>\n\u003cp>For Hussain, Harland isn’t an anomaly. He’s part of an international percussion phenomenon stretching from the New York City and the Caribbean to Mumbai and Chennai. “There’s a parallel here: in India and in the West, the level of drumming has suddenly shot up a hundredfold,” Hussain says. “There are so many great drummers here playing jazz, coming out of Houston or Boston or wherever. And they’re playing incredible. They just knock your socks off.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fact that Harland stands out even amidst this profusion of talent makes him an inspired choice for SFJAZZ, while his insatiable musical curiosity means there’s no telling what he’ll do next. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s favorite picks from the Noise Pop Festival lineup, including songs by Jessica Pratt, How To Dress Well, The Church and more.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Noise_Pop_2015_podcast.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The Noise Pop Music Festival celebrates its 23rd anniversary this year, running Feb. 25–Mar. 1—and in anticipation, we’ve asked the Noise Pop Podcast team to shed their objectivity and share their favorite songs from their favorite artists on the lineup. Enjoy a taste of the massive 2015 lineup in this curated mix, and get started on planning your week.\u003c/p>\n\u003cp>For more information on the festival’s music, art and film, check out \u003ca href=\"http://noisepop.com/2015/\" target=\"_blank\" rel=\"noopener\">Noise’s Pop’s site\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Under The Milky Way” – The Church, \u003ci>Starfish\u003c/i>\u003c/li>\n\u003cli>“Chinese New Year” – SALES, \u003ci>SALES EP\u003c/i>\u003c/li>\n\u003cli>“Verona” – Geographer, \u003ci>Animal Shapes\u003c/i>\u003c/li>\n\u003cli>“How Good Does It Feel” – Empires, \u003ci>Orphan\u003c/i>\u003c/li>\n\u003cli>“Moves” – The New Pornographers, \u003ci>Together\u003c/i>\u003c/li>\n\u003cli>“Repeat Pleasure” – How To Dress Well, \u003ci>What Is This Heart?”\u003c/i>\u003c/li>\n\u003cli>“Back Baby” – Jessica Pratt, \u003ci>On Your Own Again\u003c/i>\u003c/li>\n\u003cli>“Nowhere To Go” – Tony Molina, \u003ci>Dissed and Dismissed\u003c/i>\u003c/li>\n\u003cli>“Waswasa” – Six Organs of Admittance, \u003ci>Ascent\u003c/i>\u003c/li>\n\u003cli>“Girls” – Slow Magic, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Nausea” – Craft Spells, \u003ci>Nausea\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 favorite picks from the Noise Pop Festival lineup, including songs by Jessica Pratt, How To Dress Well, The Church and more.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Noise_Pop_2015_podcast.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The Noise Pop Music Festival celebrates its 23rd anniversary this year, running Feb. 25–Mar. 1—and in anticipation, we’ve asked the Noise Pop Podcast team to shed their objectivity and share their favorite songs from their favorite artists on the lineup. Enjoy a taste of the massive 2015 lineup in this curated mix, and get started on planning your week.\u003c/p>\n\u003cp>For more information on the festival’s music, art and film, check out \u003ca href=\"http://noisepop.com/2015/\" target=\"_blank\" rel=\"noopener\">Noise’s Pop’s site\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Under The Milky Way” – The Church, \u003ci>Starfish\u003c/i>\u003c/li>\n\u003cli>“Chinese New Year” – SALES, \u003ci>SALES EP\u003c/i>\u003c/li>\n\u003cli>“Verona” – Geographer, \u003ci>Animal Shapes\u003c/i>\u003c/li>\n\u003cli>“How Good Does It Feel” – Empires, \u003ci>Orphan\u003c/i>\u003c/li>\n\u003cli>“Moves” – The New Pornographers, \u003ci>Together\u003c/i>\u003c/li>\n\u003cli>“Repeat Pleasure” – How To Dress Well, \u003ci>What Is This Heart?”\u003c/i>\u003c/li>\n\u003cli>“Back Baby” – Jessica Pratt, \u003ci>On Your Own Again\u003c/i>\u003c/li>\n\u003cli>“Nowhere To Go” – Tony Molina, \u003ci>Dissed and Dismissed\u003c/i>\u003c/li>\n\u003cli>“Waswasa” – Six Organs of Admittance, \u003ci>Ascent\u003c/i>\u003c/li>\n\u003cli>“Girls” – Slow Magic, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Nausea” – Craft Spells, \u003ci>Nausea\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While vinyl record sales enjoy a resurgence that shows no sign of slowing, the future of the industry depends on the manufacture of new vinyl pressing machines—and San Francisco’s \u003ca href=\"http://piratespress.com/cms/\" target=\"_blank\" rel=\"noopener\">Pirates Press\u003c/a> is first in line.\u003c/p>\n\u003cp>In December, the Potrero Hill vinyl brokerage announced a brand-new vinyl press, the first in the world since the 1980s. “The press is the first new press manufactured from scratch in 30 years, period, as far as we know,” says Pirates Press president Eric Mueller.\u003c/p>\n\u003cp>It’s a significant milestone for the small company, composed of 30 employees and an office cat named Sheena (after \u003ca href=\"https://www.youtube.com/watch?v=-nlX7P0nhaI\" target=\"_blank\" rel=\"noopener\">the Ramones song\u003c/a>, not Sheena Easton).\u003c/p>\n\u003cp>Founded in 2004 by Mueller, a lifelong record collector (his first record was a “Happy Birthday” flexi-disc he got as a two-year-old), Pirates Press has worked with major labels like Warner Brothers and Sony to press records for everyone from Madonna to Tegan & Sara. But the bulk of their projects are for punk and metal bands (“You can’t name a [punk or metal] band we haven’t pressed a record for,” Mueller says). They’re also popular with smaller acts—their minimum order is only 250 records, an accessible amount for a garage band wanting to sell records on tour.\u003c/p>\n\u003cfigure id=\"attachment_10320143\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/GZ2.jpg\" alt=\"GZ Media Record Pressing\" width=\"640\" height=\"480\" class=\"size-full wp-image-10320143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ2-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A record being pressed at GZ Media, in the Czech Republic. (Photo: Filip Singer/EPA, courtesy Pirates Press)\u003c/figcaption>\u003c/figure>\n\u003cp>The records from Pirates Press aren’t often the traditional black LPs you’d buy at Amoeba, either: Pirates specializes in the artistic and unusual. If a client wants a lightning bolt, skull, or cannabis leaf imprinted into their record, Pirates Press can do it. They once fashioned a record into a \u003ca href=\"http://www.piratespressrecords.com/store/7-inches-c-1_4/detournement-know-your-rights-flexi-7-p-174.html\" target=\"_blank\" rel=\"noopener\">Molotov cocktail\u003c/a>: printing the record on a flexi-disc, wrapping the disc in a bandana and stuffing the whole thing into a labeled bottle. They even once handled an order from the Swiss government to print a stamp that doubles as \u003ca href=\"https://www.youtube.com/watch?v=0WC7tEBI93s\" target=\"_blank\" rel=\"noopener\">a record that plays their national anthem\u003c/a>. And when \u003cem>Maximumrocknroll\u003c/em> writer Bruce Roehrs died in 2010, Mueller came up with a fitting way to honor his friend: they \u003ca href=\"http://piratespress.com/rotw/?p=537\" target=\"_blank\" rel=\"noopener\">pressed Roehrs’ ashes\u003c/a> into a limited-edition split record of two bands he loved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pirates Press doesn’t actually press the records themselves—that’s the job of their partner \u003ca href=\"http://www.gzmedia.com/en-GB/Homepage.aspx\" target=\"_blank\" rel=\"noopener\">GZ Media\u003c/a>, a 64-year-old vinyl pressing plant in the Czech Republic. “I’m as Made-in-America as the next person, but there’s something to be said about giving your money to someone that does more for your goals,” says Mueller. “They’ve continued to invest in vinyl, whereas other factories were skeptical and invested in CDs.”\u003c/p>\n\u003cp>The companies are also stronger together: Pirates has someone who can make their elaborate designs, and GZ has someone who knows how to sell them to a US market. Above all other companies who work with GZ, Pirates gives them the most business. “They’ve opened their arms to us for 10 years and we love it. We go over there, walk around the factory and half the folks are wearing Pirates Press shirts,” said Mueller. “They’ve improved so much in their efficiency over the last ten years that they’re a huge reason—if not the only reason—we’re continuing to grow at the rate we’re growing.”\u003c/p>\n\u003cp>And grow they have. Pirates has carved a successful niche in the market; Mueller estimates they’ve grown about 20-40% every year. Last year, they pressed 2.5 million records.\u003c/p>\n\u003cp>A few years ago, GZ started thinking about a new vinyl press. It would prove a huge undertaking, both financially and intellectually: since no one is currently making new presses, everything would have to be built entirely from scratch. It would also be a significant leap into the future for the vinyl industry. Despite the ongoing popularity of vinyl—\u003ca href=\"http://www.wsj.com/articles/the-biggest-music-comeback-of-2014-vinyl-records-1418323133\" target=\"_blank\" rel=\"noopener\">vinyl sales doubled\u003c/a> from 2013 to 2014, and have increased by 800% since 2007—only a small handful companies make records. Mueller estimates that worldwide, only about 15 businesses have more than ten vinyl presses, most of which were built in the Reagan era or before.\u003c/p>\n\u003cfigure id=\"attachment_10320144\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/GZ1.jpg\" alt=\"GZ Media Record Pressing\" width=\"640\" height=\"480\" class=\"size-full wp-image-10320144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ1-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The new vinyl press is a design based on older manual pressing machines, shown here. (Photo: Filip Singer/EPA, courtesy Pirates Press)\u003c/figcaption>\u003c/figure>\n\u003cp>The lack of presses to satisfy increasing demand often creates a backlog, to the extent that a \u003cem>Vice\u003c/em> article from last year declared that “\u003ca href=\"http://motherboard.vice.com/blog/vinyl-wont-really-make-a-comeback-until-we-have-more-record-presses\" target=\"_blank\" rel=\"noopener\">Vinyl Won’t Really Make a Comeback Until We Have More Record Presses\u003c/a>.” Just this month, United Record Pressing in Nashville, one of the largest US vinyl producers, temporarily \u003ca href=\"http://www.urpressing.com/loyalty.php\" target=\"_blank\" rel=\"noopener\">stopped accepting new customers\u003c/a> because of their increase in orders. Companies desperately hunt for old presses, and when a company does announce the acquisition of a “new” vinyl press, they mean a refurbished machine snapped up from a shuttered plant.\u003c/p>\n\u003cp>GZ’s size and scope—they claim to be the largest producers of vinyl in the world, with 30-plus presses, and they produced 14 million records last year—gave them the ability to make a sizable investment in a new machine. And because GZ repairs all of its presses in-house, their workers have an intimate knowledge of how the presses run. That knowledge, coupled with the work of a design firm in Prague, allowed them to develop a new press with parts that are interchangeable with the company’s current 30-year-old machines.\u003c/p>\n\u003cp>“The task itself of making the machine was definitely a group effort between our people and a design firm in Prague, but it wouldn’t have happened without the knowledge that they’ve been keeping for years and years,” Mueller says. “[GZ’s] retention of employees is like nothing I’ve ever seen.”\u003c/p>\n\u003cp>The press, which GZ plans to only use in-house and not sell to other plants, allows both companies to expand. Pirates plans to double their production. And they’re not the only ones in the industry aiming to grow: United \u003ca href=\"http://www.billboard.com/biz/articles/news/retail/6077613/united-record-pressing-expands-jay-millar-vinyl-sales-qa\" target=\"_blank\" rel=\"noopener\">plans to expand \u003c/a>its pressing services, and indie label Fat Possum recently announced that they’re \u003ca href=\"http://www.billboard.com/articles/business/6413807/fat-possum-opens-vinyl-pressing-plant\" target=\"_blank\" rel=\"noopener\">building a vinyl plant\u003c/a> of their own.\u003c/p>\n\u003cfigure id=\"attachment_10320145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/GZ3.jpg\" alt=\"The new vinyl press is a design based on older pressing machines, shown here. (Photo: Filip Singer/EPA, courtesy Pirates Press)\" width=\"640\" height=\"480\" class=\"size-full wp-image-10320145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ3-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Automated pressing machines at GZ Media; the new press is a manual design. (Photo: Filip Singer/EPA, courtesy Pirates Press)\u003c/figcaption>\u003c/figure>\n\u003cp>But Mueller remains confident about his place in the industry, pointing to the increasing popularity of vinyl among musicians with a young fan base—including artists like Jack White, whose 2014 album \u003cem>Lazaretto\u003c/em> was the \u003ca href=\"http://www.forbes.com/sites/niallmccarthy/2015/01/13/vinyls-back-and-these-are-the-top-albums-of-2014-infographic/\" target=\"_blank\" rel=\"noopener\">top selling record last year\u003c/a>; and Taylor Swift, who’s released her last three albums on vinyl. (Her 2014 album \u003cem>1989\u003c/em> is a favorite of the Pirates staff, Mueller says: “They play that one every Friday.”)\u003c/p>\n\u003cp>And what of the sharp surge in vinyl sales over the past eight years? Mueller remains optimistic that it’s not just a fad. Collectors buying the umpteenth Beatles box set may have \u003ca href=\"http://www.nme.com/photos/20-best-selling-vinyl-albums-of-the-last-20-years/324842\" target=\"_blank\" rel=\"noopener\">dominated vinyl sales\u003c/a> for years, but young vinyl fans \u003ca href=\"http://www.theguardian.com/music/2013/oct/17/uk-vinyl-sales-daft-punk-david-bowie\" target=\"_blank\" rel=\"noopener\">buying the new Daft Punk\u003c/a> album mean a future for the format.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If people, kids especially, continue to start buying more and more record players, that’s what tips the scales,” Mueller says. “We know we’re more efficient in making higher-end, quality products than everybody else, so we feel like our investment is a safe as anybody’s, if not safer. Right now we’re growing, [and] we’ll continue to grow as far as the market allows us to.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While vinyl record sales enjoy a resurgence that shows no sign of slowing, the future of the industry depends on the manufacture of new vinyl pressing machines—and San Francisco’s \u003ca href=\"http://piratespress.com/cms/\" target=\"_blank\" rel=\"noopener\">Pirates Press\u003c/a> is first in line.\u003c/p>\n\u003cp>In December, the Potrero Hill vinyl brokerage announced a brand-new vinyl press, the first in the world since the 1980s. “The press is the first new press manufactured from scratch in 30 years, period, as far as we know,” says Pirates Press president Eric Mueller.\u003c/p>\n\u003cp>It’s a significant milestone for the small company, composed of 30 employees and an office cat named Sheena (after \u003ca href=\"https://www.youtube.com/watch?v=-nlX7P0nhaI\" target=\"_blank\" rel=\"noopener\">the Ramones song\u003c/a>, not Sheena Easton).\u003c/p>\n\u003cp>Founded in 2004 by Mueller, a lifelong record collector (his first record was a “Happy Birthday” flexi-disc he got as a two-year-old), Pirates Press has worked with major labels like Warner Brothers and Sony to press records for everyone from Madonna to Tegan & Sara. But the bulk of their projects are for punk and metal bands (“You can’t name a [punk or metal] band we haven’t pressed a record for,” Mueller says). They’re also popular with smaller acts—their minimum order is only 250 records, an accessible amount for a garage band wanting to sell records on tour.\u003c/p>\n\u003cfigure id=\"attachment_10320143\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/GZ2.jpg\" alt=\"GZ Media Record Pressing\" width=\"640\" height=\"480\" class=\"size-full wp-image-10320143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ2-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A record being pressed at GZ Media, in the Czech Republic. (Photo: Filip Singer/EPA, courtesy Pirates Press)\u003c/figcaption>\u003c/figure>\n\u003cp>The records from Pirates Press aren’t often the traditional black LPs you’d buy at Amoeba, either: Pirates specializes in the artistic and unusual. If a client wants a lightning bolt, skull, or cannabis leaf imprinted into their record, Pirates Press can do it. They once fashioned a record into a \u003ca href=\"http://www.piratespressrecords.com/store/7-inches-c-1_4/detournement-know-your-rights-flexi-7-p-174.html\" target=\"_blank\" rel=\"noopener\">Molotov cocktail\u003c/a>: printing the record on a flexi-disc, wrapping the disc in a bandana and stuffing the whole thing into a labeled bottle. They even once handled an order from the Swiss government to print a stamp that doubles as \u003ca href=\"https://www.youtube.com/watch?v=0WC7tEBI93s\" target=\"_blank\" rel=\"noopener\">a record that plays their national anthem\u003c/a>. And when \u003cem>Maximumrocknroll\u003c/em> writer Bruce Roehrs died in 2010, Mueller came up with a fitting way to honor his friend: they \u003ca href=\"http://piratespress.com/rotw/?p=537\" target=\"_blank\" rel=\"noopener\">pressed Roehrs’ ashes\u003c/a> into a limited-edition split record of two bands he loved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pirates Press doesn’t actually press the records themselves—that’s the job of their partner \u003ca href=\"http://www.gzmedia.com/en-GB/Homepage.aspx\" target=\"_blank\" rel=\"noopener\">GZ Media\u003c/a>, a 64-year-old vinyl pressing plant in the Czech Republic. “I’m as Made-in-America as the next person, but there’s something to be said about giving your money to someone that does more for your goals,” says Mueller. “They’ve continued to invest in vinyl, whereas other factories were skeptical and invested in CDs.”\u003c/p>\n\u003cp>The companies are also stronger together: Pirates has someone who can make their elaborate designs, and GZ has someone who knows how to sell them to a US market. Above all other companies who work with GZ, Pirates gives them the most business. “They’ve opened their arms to us for 10 years and we love it. We go over there, walk around the factory and half the folks are wearing Pirates Press shirts,” said Mueller. “They’ve improved so much in their efficiency over the last ten years that they’re a huge reason—if not the only reason—we’re continuing to grow at the rate we’re growing.”\u003c/p>\n\u003cp>And grow they have. Pirates has carved a successful niche in the market; Mueller estimates they’ve grown about 20-40% every year. Last year, they pressed 2.5 million records.\u003c/p>\n\u003cp>A few years ago, GZ started thinking about a new vinyl press. It would prove a huge undertaking, both financially and intellectually: since no one is currently making new presses, everything would have to be built entirely from scratch. It would also be a significant leap into the future for the vinyl industry. Despite the ongoing popularity of vinyl—\u003ca href=\"http://www.wsj.com/articles/the-biggest-music-comeback-of-2014-vinyl-records-1418323133\" target=\"_blank\" rel=\"noopener\">vinyl sales doubled\u003c/a> from 2013 to 2014, and have increased by 800% since 2007—only a small handful companies make records. Mueller estimates that worldwide, only about 15 businesses have more than ten vinyl presses, most of which were built in the Reagan era or before.\u003c/p>\n\u003cfigure id=\"attachment_10320144\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/GZ1.jpg\" alt=\"GZ Media Record Pressing\" width=\"640\" height=\"480\" class=\"size-full wp-image-10320144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ1-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The new vinyl press is a design based on older manual pressing machines, shown here. (Photo: Filip Singer/EPA, courtesy Pirates Press)\u003c/figcaption>\u003c/figure>\n\u003cp>The lack of presses to satisfy increasing demand often creates a backlog, to the extent that a \u003cem>Vice\u003c/em> article from last year declared that “\u003ca href=\"http://motherboard.vice.com/blog/vinyl-wont-really-make-a-comeback-until-we-have-more-record-presses\" target=\"_blank\" rel=\"noopener\">Vinyl Won’t Really Make a Comeback Until We Have More Record Presses\u003c/a>.” Just this month, United Record Pressing in Nashville, one of the largest US vinyl producers, temporarily \u003ca href=\"http://www.urpressing.com/loyalty.php\" target=\"_blank\" rel=\"noopener\">stopped accepting new customers\u003c/a> because of their increase in orders. Companies desperately hunt for old presses, and when a company does announce the acquisition of a “new” vinyl press, they mean a refurbished machine snapped up from a shuttered plant.\u003c/p>\n\u003cp>GZ’s size and scope—they claim to be the largest producers of vinyl in the world, with 30-plus presses, and they produced 14 million records last year—gave them the ability to make a sizable investment in a new machine. And because GZ repairs all of its presses in-house, their workers have an intimate knowledge of how the presses run. That knowledge, coupled with the work of a design firm in Prague, allowed them to develop a new press with parts that are interchangeable with the company’s current 30-year-old machines.\u003c/p>\n\u003cp>“The task itself of making the machine was definitely a group effort between our people and a design firm in Prague, but it wouldn’t have happened without the knowledge that they’ve been keeping for years and years,” Mueller says. “[GZ’s] retention of employees is like nothing I’ve ever seen.”\u003c/p>\n\u003cp>The press, which GZ plans to only use in-house and not sell to other plants, allows both companies to expand. Pirates plans to double their production. And they’re not the only ones in the industry aiming to grow: United \u003ca href=\"http://www.billboard.com/biz/articles/news/retail/6077613/united-record-pressing-expands-jay-millar-vinyl-sales-qa\" target=\"_blank\" rel=\"noopener\">plans to expand \u003c/a>its pressing services, and indie label Fat Possum recently announced that they’re \u003ca href=\"http://www.billboard.com/articles/business/6413807/fat-possum-opens-vinyl-pressing-plant\" target=\"_blank\" rel=\"noopener\">building a vinyl plant\u003c/a> of their own.\u003c/p>\n\u003cfigure id=\"attachment_10320145\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/GZ3.jpg\" alt=\"The new vinyl press is a design based on older pressing machines, shown here. (Photo: Filip Singer/EPA, courtesy Pirates Press)\" width=\"640\" height=\"480\" class=\"size-full wp-image-10320145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/GZ3-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Automated pressing machines at GZ Media; the new press is a manual design. (Photo: Filip Singer/EPA, courtesy Pirates Press)\u003c/figcaption>\u003c/figure>\n\u003cp>But Mueller remains confident about his place in the industry, pointing to the increasing popularity of vinyl among musicians with a young fan base—including artists like Jack White, whose 2014 album \u003cem>Lazaretto\u003c/em> was the \u003ca href=\"http://www.forbes.com/sites/niallmccarthy/2015/01/13/vinyls-back-and-these-are-the-top-albums-of-2014-infographic/\" target=\"_blank\" rel=\"noopener\">top selling record last year\u003c/a>; and Taylor Swift, who’s released her last three albums on vinyl. (Her 2014 album \u003cem>1989\u003c/em> is a favorite of the Pirates staff, Mueller says: “They play that one every Friday.”)\u003c/p>\n\u003cp>And what of the sharp surge in vinyl sales over the past eight years? Mueller remains optimistic that it’s not just a fad. Collectors buying the umpteenth Beatles box set may have \u003ca href=\"http://www.nme.com/photos/20-best-selling-vinyl-albums-of-the-last-20-years/324842\" target=\"_blank\" rel=\"noopener\">dominated vinyl sales\u003c/a> for years, but young vinyl fans \u003ca href=\"http://www.theguardian.com/music/2013/oct/17/uk-vinyl-sales-daft-punk-david-bowie\" target=\"_blank\" rel=\"noopener\">buying the new Daft Punk\u003c/a> album mean a future for the format.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If people, kids especially, continue to start buying more and more record players, that’s what tips the scales,” Mueller says. “We know we’re more efficient in making higher-end, quality products than everybody else, so we feel like our investment is a safe as anybody’s, if not safer. Right now we’re growing, [and] we’ll continue to grow as far as the market allows us to.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Listening In to the Bay Area’s Recording Studios",
"headTitle": "Mixtape: Listening In to the Bay Area’s Recording Studios | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen as the Bay Bridged picks recent songs recorded at Bay Area recording studios, including tracks from the Dodos, Great Apes, Howlin’ Rain, Sun Kil Moon and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SF_Studios_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>San Francisco’s legacy of producing great music isn’t just a function of supremely talented bands and inviting concert venues. Hidden behind the scenes is the Bay Area’s rich array of recording studios, providing opportunities for artists, local and otherwise, to create great albums. An ideal studio isn’t just a quiet room stocked with the right mixing board, microphones, and other gear. More than that, it’s an \u003cem>environment\u003c/em> in which musicians can elevate their songs, permanently capturing them at their best.\u003c/p>\n\u003cp>There’s a long history to a number of the most prominent local studios operating today. \u003ca href=\"http://hydestreet.com/\">Hyde Street Studios\u003c/a>, for example, began in the late 1960s as Wally Heider Studios, hosting acts like Jefferson Airplane, the Grateful Dead, and Creedence Clearwater Revival (whose album \u003cem>Cosmo’s Factory\u003c/em> features a cover photo shot inside the studio). \u003ca href=\"http://www.fantasystudios.com/\">Fantasy Studios\u003c/a> in Berkeley emerged around the same time, developing into an important space for top jazz artists, as did \u003ca href=\"http://coastrecorders.com/\">Coast Recorders\u003c/a> and \u003ca href=\"http://differentfurstudios.com/blog/\">Different Fur Studios\u003c/a>.\u003c/p>\n\u003cp>More recently, a number of newer studios have emerged in the Bay Area. John Vanderslice’s \u003ca href=\"http://www.tinytelephone.com/\">Tiny Telephone Recording\u003c/a> arrived in 1997, and it’s now a destination for indie artists so in-demand that Vanderslice is expanding to the East Bay, where Tiny Telephone will join \u003ca href=\"http://www.jtrecording.com/\">Jingletown Recording\u003c/a>, \u003ca href=\"http://newimprovedrecording.com/\">New Improved Recording\u003c/a> and \u003ca href=\"http://sharkbitestudios.com/\">Sharkbite Studios\u003c/a>, among others.\u003c/p>\n\u003cp>A number of producer-led studios play an important role in fostering emerging bands. Over the past decade, Jack Shirley’s \u003ca href=\"http://theatomicgarden.com/\">Atomic Garden\u003c/a> has become a reliable source for new punk, post-punk and noise pop like Wild Moth, Tony Molina, and Joyce Manor. Monte Vallier, from bands Half Church and Swell, now runs \u003ca href=\"http://ruminatoraudio.com/\">Ruminator Audio\u003c/a>, recording Weekend, Wax Idols, Vaniish, and others. And Eric Bauer’s \u003ca href=\"http://www.redbullusa.com/cs/Satellite/en_US/Article/How-a-small-studio-in-San-Francisco-is-defining-rock-021243257121735\">Bauer Mansion\u003c/a> has played a vital role in the recent garage rock explosion, recording breakthrough albums by Ty Segall and Thee Oh Sees.\u003c/p>\n\u003cp>This mixtape collects ten new and recent songs from San Francisco Bay Area bands, all of which were recorded at local studios.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dodosmusic\">The Dodos\u003c/a>\u003c/strong> – “Competition”\u003cbr>\nFrom \u003cem>Individ\u003c/em>, recorded at \u003ca href=\"http://www.tinytelephone.com/\">Tiny Telephone Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/howlinrain\">Howlin Rain\u003c/a>\u003c/strong> – “Wild Bush”\u003cbr>\nFrom \u003cem>Mansion Songs\u003c/em>, recorded at \u003ca href=\"http://www.redbullusa.com/cs/Satellite/en_US/Article/How-a-small-studio-in-San-Francisco-is-defining-rock-021243257121735\">Bauer Mansion\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/leebobthetruth\">Lee Bob & The Truth\u003c/a>\u003c/strong> – “Mission Breakdown”\u003cbr>\nFrom \u003cem>The TRUTH LP\u003c/em>, recorded at \u003ca href=\"http://www.decibellerecording.com/\">Decibelle Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\">Hot Flash Heat Wave\u003c/a>\u003c/strong> – “Hesitation”\u003cbr>\nFrom a forthcoming LP, recorded at \u003ca href=\"http://differentfurstudios.com/blog/\">Different Fur Studios\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/greatapessf\">Great Apes\u003c/a>\u003c/strong> – “New Rough, Old Diamond (A Conversation Between Vesuvio and Specs)”\u003cbr>\nFrom \u003cem>Playland at the Beach\u003c/em>, recorded at \u003ca href=\"http://theatomicgarden.com/\">The Atomic Garden\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/The-Fresh-Onlys/208978487600\">The Fresh & Onlys\u003c/a>\u003c/strong> – “Who Let The Devil”\u003cbr>\nFrom \u003cem>House of Spirits\u003c/em>, recorded at \u003ca href=\"http://www.luckycatrecording.com/\">Lucky Cat Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Beep/87572962880\">Beep!\u003c/a>\u003c/strong> – “Alien Mating Call”\u003cbr>\nFrom \u003cem>Too Physical\u003c/em>, recorded at \u003ca href=\"http://newimprovedrecording.com/\">New, Improved Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Lixisound\">Li Xi\u003c/a>\u003c/strong> – “Pluto”\u003cbr>\t\u003cbr>\nFrom \u003cem>Meet Me Somewhere\u003c/em>, recorded at \u003ca href=\"http://ruminatoraudio.com/\">Ruminator Audio\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/seaknightmusic\">Sea Knight\u003c/a>\u003c/strong> – “Chasm”\u003cbr>\nFrom \u003cem>Where Are You\u003c/em>, recorded at \u003ca href=\"http://sharkbitestudios.com/\">Sharkbite Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.caldoverderecords.com/\">Sun Kil Moon\u003c/a>\u003c/strong> – “Ben’s My Friend”\u003cbr>\nFrom \u003cem>Benji\u003c/em>, recorded at \u003ca href=\"http://hydestreet.com/\">Hyde Street Studios\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen as the Bay Bridged picks recent songs recorded at Bay Area recording studios, including tracks from the Dodos, Great Apes, Howlin’ Rain, Sun Kil Moon and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/SF_Studios_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>San Francisco’s legacy of producing great music isn’t just a function of supremely talented bands and inviting concert venues. Hidden behind the scenes is the Bay Area’s rich array of recording studios, providing opportunities for artists, local and otherwise, to create great albums. An ideal studio isn’t just a quiet room stocked with the right mixing board, microphones, and other gear. More than that, it’s an \u003cem>environment\u003c/em> in which musicians can elevate their songs, permanently capturing them at their best.\u003c/p>\n\u003cp>There’s a long history to a number of the most prominent local studios operating today. \u003ca href=\"http://hydestreet.com/\">Hyde Street Studios\u003c/a>, for example, began in the late 1960s as Wally Heider Studios, hosting acts like Jefferson Airplane, the Grateful Dead, and Creedence Clearwater Revival (whose album \u003cem>Cosmo’s Factory\u003c/em> features a cover photo shot inside the studio). \u003ca href=\"http://www.fantasystudios.com/\">Fantasy Studios\u003c/a> in Berkeley emerged around the same time, developing into an important space for top jazz artists, as did \u003ca href=\"http://coastrecorders.com/\">Coast Recorders\u003c/a> and \u003ca href=\"http://differentfurstudios.com/blog/\">Different Fur Studios\u003c/a>.\u003c/p>\n\u003cp>More recently, a number of newer studios have emerged in the Bay Area. John Vanderslice’s \u003ca href=\"http://www.tinytelephone.com/\">Tiny Telephone Recording\u003c/a> arrived in 1997, and it’s now a destination for indie artists so in-demand that Vanderslice is expanding to the East Bay, where Tiny Telephone will join \u003ca href=\"http://www.jtrecording.com/\">Jingletown Recording\u003c/a>, \u003ca href=\"http://newimprovedrecording.com/\">New Improved Recording\u003c/a> and \u003ca href=\"http://sharkbitestudios.com/\">Sharkbite Studios\u003c/a>, among others.\u003c/p>\n\u003cp>A number of producer-led studios play an important role in fostering emerging bands. Over the past decade, Jack Shirley’s \u003ca href=\"http://theatomicgarden.com/\">Atomic Garden\u003c/a> has become a reliable source for new punk, post-punk and noise pop like Wild Moth, Tony Molina, and Joyce Manor. Monte Vallier, from bands Half Church and Swell, now runs \u003ca href=\"http://ruminatoraudio.com/\">Ruminator Audio\u003c/a>, recording Weekend, Wax Idols, Vaniish, and others. And Eric Bauer’s \u003ca href=\"http://www.redbullusa.com/cs/Satellite/en_US/Article/How-a-small-studio-in-San-Francisco-is-defining-rock-021243257121735\">Bauer Mansion\u003c/a> has played a vital role in the recent garage rock explosion, recording breakthrough albums by Ty Segall and Thee Oh Sees.\u003c/p>\n\u003cp>This mixtape collects ten new and recent songs from San Francisco Bay Area bands, all of which were recorded at local studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dodosmusic\">The Dodos\u003c/a>\u003c/strong> – “Competition”\u003cbr>\nFrom \u003cem>Individ\u003c/em>, recorded at \u003ca href=\"http://www.tinytelephone.com/\">Tiny Telephone Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/howlinrain\">Howlin Rain\u003c/a>\u003c/strong> – “Wild Bush”\u003cbr>\nFrom \u003cem>Mansion Songs\u003c/em>, recorded at \u003ca href=\"http://www.redbullusa.com/cs/Satellite/en_US/Article/How-a-small-studio-in-San-Francisco-is-defining-rock-021243257121735\">Bauer Mansion\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/leebobthetruth\">Lee Bob & The Truth\u003c/a>\u003c/strong> – “Mission Breakdown”\u003cbr>\nFrom \u003cem>The TRUTH LP\u003c/em>, recorded at \u003ca href=\"http://www.decibellerecording.com/\">Decibelle Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\">Hot Flash Heat Wave\u003c/a>\u003c/strong> – “Hesitation”\u003cbr>\nFrom a forthcoming LP, recorded at \u003ca href=\"http://differentfurstudios.com/blog/\">Different Fur Studios\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/greatapessf\">Great Apes\u003c/a>\u003c/strong> – “New Rough, Old Diamond (A Conversation Between Vesuvio and Specs)”\u003cbr>\nFrom \u003cem>Playland at the Beach\u003c/em>, recorded at \u003ca href=\"http://theatomicgarden.com/\">The Atomic Garden\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/The-Fresh-Onlys/208978487600\">The Fresh & Onlys\u003c/a>\u003c/strong> – “Who Let The Devil”\u003cbr>\nFrom \u003cem>House of Spirits\u003c/em>, recorded at \u003ca href=\"http://www.luckycatrecording.com/\">Lucky Cat Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Beep/87572962880\">Beep!\u003c/a>\u003c/strong> – “Alien Mating Call”\u003cbr>\nFrom \u003cem>Too Physical\u003c/em>, recorded at \u003ca href=\"http://newimprovedrecording.com/\">New, Improved Recording\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Lixisound\">Li Xi\u003c/a>\u003c/strong> – “Pluto”\u003cbr>\t\u003cbr>\nFrom \u003cem>Meet Me Somewhere\u003c/em>, recorded at \u003ca href=\"http://ruminatoraudio.com/\">Ruminator Audio\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/seaknightmusic\">Sea Knight\u003c/a>\u003c/strong> – “Chasm”\u003cbr>\nFrom \u003cem>Where Are You\u003c/em>, recorded at \u003ca href=\"http://sharkbitestudios.com/\">Sharkbite Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.caldoverderecords.com/\">Sun Kil Moon\u003c/a>\u003c/strong> – “Ben’s My Friend”\u003cbr>\nFrom \u003cem>Benji\u003c/em>, recorded at \u003ca href=\"http://hydestreet.com/\">Hyde Street Studios\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Exploring the World with Jen Shyu",
"headTitle": "Exploring the World with Jen Shyu | 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/jen-shyu/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Jen Shyu\u003c/h4>\n\u003cdiv class=\"event-desc\">Jazz musician presents ‘Solo Rites: Seven Breaths.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Center for New Music\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jen-shyu/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Part performance artist and part conjurer, jazz vocalist Jen Shyu contains multitudes. Steeped in folkloric music traditions from Korea, Indonesia, Taiwan, East Timor and beyond, Shyu has forged a multi-disciplinary performance practice encompassing dance, vocals, various instruments, and at least seven different languages. \u003c/p>\n\u003cp>She brings together all her far-flung studies in her new work \u003cem>Solo Rites: Seven Breaths\u003c/em>, a collaboration with renowned Indonesian filmmaker-director Garin Nugroho. In a rare Bay Area appearance, Shyu presents the West Coast premiere of \u003cem>Solo Rites\u003c/em> on Friday, Jan. 23, at San Francisco’s Center for New Music, and Sunday, Jan. 24, at Oakland’s Studio Grand on a double bill with pianist Motoko Honda. \u003c/p>\n\u003cp>A fixture on the edgy New York scene for more than a decade, Shyu first gained international attention as a member of alto saxophonist Steve Coleman’s Five Elements, where her soaring vocal lines meshed with his dense avant-funk. After an eight-year run with Coleman, who was recently awarded a MacArthur “Genius” Fellowship, Shyu lit out on her own to continue immersing herself in obscure and threatened traditional musical forms in 2011. A Fulbright scholarship brought her to Indonesia, where she studied Javanese Sindhenan and dance, followed by a six-month scholarship from Korea’s National Gugak Center to study Pansori, a percussion-driven form of musical storytelling. \u003c/p>\n\u003cp>“I was purposely reaching for the underappreciated or forgotten traditions,” Shyu says, noting that when she set out on her journey to Java she dreamed of meeting Garin Nugroho, whose 2006 film \u003cem>Opera Java\u003c/em> combined the country’s native gamelan music with an experimental sensibility. \u003c/p>\n\u003cp>“It was traditional-sounding but full of completely avant-garde elements, this poetic and beautiful marriage of music, dance, and visual arts,” Shyu says. “This is exactly aligned with the way I want to make work. It was kind of a fantasy that maybe I’d run into Nugroho, and through connections via Rachel Cooper at the Asia Society, I did. It was thrilling that he was interested in working together.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shyu has been honing the piece since it premiered at Roulette last May, and her New York City performance last week at \u003ca href=\"http://www.winterjazzfest.com/\" target=\"_blank\" rel=\"noopener\">Winter Jazzfest\u003c/a> elicited a rapturous review in the \u003cem>New York Times\u003c/em>, as Ben Ratliff described Shyu “singing parts of her piece \u003cem>Solo Rites: Seven Breaths\u003c/em> in Korean and English, playing various lutes and zithers and percussion instruments, combined movement, acting, singing, and playing into long-form songs that could remind you of ancient court music or Joni Mitchell. Everything she did—every turn, every breath—came with mindful emphasis.” \u003c/p>\n\u003cp>[vimeo 111683681 w=500 h=281]\u003c/p>\n\u003cp>Given her far-flung travels and long residencies in Asia, Shyu has been a scarce presence in the Bay Area in recent years. She last performed here at the Red Poppy Art House in 2010 when she celebrated the release of her gorgeous duo album with bass virtuoso Mark Dresser, \u003cem>Synastry\u003c/em> (Pi Recordings). A music professor at UC San Diego and a leading figure in jazz and new music since the 1970s, Dresser first encountered Shyu performing with Coleman about 10 years ago. He was so impressed with her musicianship that he suggested they get together in New York to play. They ended up working together extensively and generating an album of thrilling duo encounters. \u003c/p>\n\u003cp>“Jen is such an incredible student of music,” Dresser says. “She’s got this unquenchable thirst. She just goes there, deeply studies the music, and absorbs it in the most organic way. She was amazing before she left, with profound time and pitch. Now her sound, her sonic palette, has gotten deeper and the emotional spectrum of what she does is palpably greater. It’s exciting to hear someone grow so much.”\u003c/p>\n\u003cp>In many ways Shyu’s music has been a vehicle for exploring her roots. Her father was born in Taiwan, and her mother hails from the Hakka Chinese of East Timor. She credits her formative years in the Bay Area with forging a multi-disciplinary performance practice that integrates her skills as an improviser with her ever-expanding musical vocabularies. \u003c/p>\n\u003cp>“What I’m doing now is a continuation of what I started with in the Bay Area,” Shyu says. \u003c/p>\n\u003cp>After studying dance and classical voice at Stanford in the late 1990s, she joined the San Francisco collective Red Jade and encountered a well-established community of Asian-American artists who encouraged her to explore beyond the straight-ahead jazz tradition. Dancer Lenora Lee encouraged her to integrate movement and vocals, while pianist Jon Jang and tenor saxophonist Francis Wong pointed her to Hong Kong, a move seconded by Steve Coleman, who told her “if you don’t go there, you’re just spinning your wheels. We’re on the frontier, and you’ve got to push it.” \u003c/p>\n\u003cp>She made the move to New York City to study with Coleman, an artist who has exerted a profound influence on jazz since he was at the center of Brooklyn’s M-Base Collective, a loose confederation of artists dedicated to integrating an array of African-diaspora cultural forms. Many of jazz’s most celebrated improvisers, from pianist Vijay Iyer and vocalist Cassandra Wilson to Cuban drummer Dafnis Prieto and Puerto Rican altoist Miguel Zenón, cite Coleman as a formative influence. Eventually, Shyu became the first vocalist to join Five Elements since Cassandra Wilson. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything I’m doing vocally, improvisationally, I have to thank Steve for forcing me to learn those Bird solos, with getting past copying and creating my own language,” Shyu says, referring to bebop alto sax progenitor Charlie “Bird” Parker. “He was really proud of the fact that he had a singer who could float through the changes like a saxophonist, and pound out the rhythms like a drummer.”\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/jen-shyu/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Jen Shyu\u003c/h4>\n\u003cdiv class=\"event-desc\">Jazz musician presents ‘Solo Rites: Seven Breaths.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Center for New Music\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jen-shyu/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Part performance artist and part conjurer, jazz vocalist Jen Shyu contains multitudes. Steeped in folkloric music traditions from Korea, Indonesia, Taiwan, East Timor and beyond, Shyu has forged a multi-disciplinary performance practice encompassing dance, vocals, various instruments, and at least seven different languages. \u003c/p>\n\u003cp>She brings together all her far-flung studies in her new work \u003cem>Solo Rites: Seven Breaths\u003c/em>, a collaboration with renowned Indonesian filmmaker-director Garin Nugroho. In a rare Bay Area appearance, Shyu presents the West Coast premiere of \u003cem>Solo Rites\u003c/em> on Friday, Jan. 23, at San Francisco’s Center for New Music, and Sunday, Jan. 24, at Oakland’s Studio Grand on a double bill with pianist Motoko Honda. \u003c/p>\n\u003cp>A fixture on the edgy New York scene for more than a decade, Shyu first gained international attention as a member of alto saxophonist Steve Coleman’s Five Elements, where her soaring vocal lines meshed with his dense avant-funk. After an eight-year run with Coleman, who was recently awarded a MacArthur “Genius” Fellowship, Shyu lit out on her own to continue immersing herself in obscure and threatened traditional musical forms in 2011. A Fulbright scholarship brought her to Indonesia, where she studied Javanese Sindhenan and dance, followed by a six-month scholarship from Korea’s National Gugak Center to study Pansori, a percussion-driven form of musical storytelling. \u003c/p>\n\u003cp>“I was purposely reaching for the underappreciated or forgotten traditions,” Shyu says, noting that when she set out on her journey to Java she dreamed of meeting Garin Nugroho, whose 2006 film \u003cem>Opera Java\u003c/em> combined the country’s native gamelan music with an experimental sensibility. \u003c/p>\n\u003cp>“It was traditional-sounding but full of completely avant-garde elements, this poetic and beautiful marriage of music, dance, and visual arts,” Shyu says. “This is exactly aligned with the way I want to make work. It was kind of a fantasy that maybe I’d run into Nugroho, and through connections via Rachel Cooper at the Asia Society, I did. It was thrilling that he was interested in working together.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shyu has been honing the piece since it premiered at Roulette last May, and her New York City performance last week at \u003ca href=\"http://www.winterjazzfest.com/\" target=\"_blank\" rel=\"noopener\">Winter Jazzfest\u003c/a> elicited a rapturous review in the \u003cem>New York Times\u003c/em>, as Ben Ratliff described Shyu “singing parts of her piece \u003cem>Solo Rites: Seven Breaths\u003c/em> in Korean and English, playing various lutes and zithers and percussion instruments, combined movement, acting, singing, and playing into long-form songs that could remind you of ancient court music or Joni Mitchell. Everything she did—every turn, every breath—came with mindful emphasis.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given her far-flung travels and long residencies in Asia, Shyu has been a scarce presence in the Bay Area in recent years. She last performed here at the Red Poppy Art House in 2010 when she celebrated the release of her gorgeous duo album with bass virtuoso Mark Dresser, \u003cem>Synastry\u003c/em> (Pi Recordings). A music professor at UC San Diego and a leading figure in jazz and new music since the 1970s, Dresser first encountered Shyu performing with Coleman about 10 years ago. He was so impressed with her musicianship that he suggested they get together in New York to play. They ended up working together extensively and generating an album of thrilling duo encounters. \u003c/p>\n\u003cp>“Jen is such an incredible student of music,” Dresser says. “She’s got this unquenchable thirst. She just goes there, deeply studies the music, and absorbs it in the most organic way. She was amazing before she left, with profound time and pitch. Now her sound, her sonic palette, has gotten deeper and the emotional spectrum of what she does is palpably greater. It’s exciting to hear someone grow so much.”\u003c/p>\n\u003cp>In many ways Shyu’s music has been a vehicle for exploring her roots. Her father was born in Taiwan, and her mother hails from the Hakka Chinese of East Timor. She credits her formative years in the Bay Area with forging a multi-disciplinary performance practice that integrates her skills as an improviser with her ever-expanding musical vocabularies. \u003c/p>\n\u003cp>“What I’m doing now is a continuation of what I started with in the Bay Area,” Shyu says. \u003c/p>\n\u003cp>After studying dance and classical voice at Stanford in the late 1990s, she joined the San Francisco collective Red Jade and encountered a well-established community of Asian-American artists who encouraged her to explore beyond the straight-ahead jazz tradition. Dancer Lenora Lee encouraged her to integrate movement and vocals, while pianist Jon Jang and tenor saxophonist Francis Wong pointed her to Hong Kong, a move seconded by Steve Coleman, who told her “if you don’t go there, you’re just spinning your wheels. We’re on the frontier, and you’ve got to push it.” \u003c/p>\n\u003cp>She made the move to New York City to study with Coleman, an artist who has exerted a profound influence on jazz since he was at the center of Brooklyn’s M-Base Collective, a loose confederation of artists dedicated to integrating an array of African-diaspora cultural forms. Many of jazz’s most celebrated improvisers, from pianist Vijay Iyer and vocalist Cassandra Wilson to Cuban drummer Dafnis Prieto and Puerto Rican altoist Miguel Zenón, cite Coleman as a formative influence. Eventually, Shyu became the first vocalist to join Five Elements since Cassandra Wilson. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything I’m doing vocally, improvisationally, I have to thank Steve for forcing me to learn those Bird solos, with getting past copying and creating my own language,” Shyu says, referring to bebop alto sax progenitor Charlie “Bird” Parker. “He was really proud of the fact that he had a singer who could float through the changes like a saxophonist, and pound out the rhythms like a drummer.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Local Artists Discuss the Place of Healing Artwork in Black Lives",
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"content": "\u003cp>Inequality and police brutality aren’t exactly new, but social media is. And in reaction to the recent spate of killings of unarmed black men, which have been well-documented by smartphones and online sharing, society is once again revisiting the issue of racism. The feelings of grief and frustration among black youth and those in solidarity can be seen in the #BlackLivesMatter movement, which has brought millions of people together in protest of police violence.\u003c/p>\n\u003cp>Sometimes, \u003ca href=\"http://ww2.kqed.org/news/2014/12/19/Berkeley-businesses-respond-michael-brown-protests-black-lives-matter\">certain aspects of street protests\u003c/a> stray from the core idea of what it means to be young and black in America. But a handful of local artists are taking back that idea by creating a space—through their art—to heal from the systemic racism that breeds fear, self-doubt and self-hatred within black communities.\u003c/p>\n\u003cfigure id=\"attachment_10287334\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287334 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\" alt=\"tumblr_mng1s1r9Uk1qjzkeqo1_1280\" width=\"300\" height=\"220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, 21: “I want to actually tell the story of what happened at the moment for us now and for later too.” (Photo credit: Kristian Contreras/Youthful Kinfolk)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://amiraziz.me/\">Amir Aziz\u003c/a> is a graphic artist, photographer and Oakland native who’s part of the Bay Area art collective \u003ca href=\"http://youthfulkinfolk.com/\">Youthful Kinfolk\u003c/a>, a group of young people interested in pushing Bay Area art and culture further. Aziz chronicles the movements that sprout from the deaths and resulting trials of unarmed black men, putting them together in a “collection of unity.” His collection demonstrates how Oakland’s young people of color interact with various events happening all over the nation. “I go to these events and I document them, and I want to share that with everyone—share what you miss when you’re not in this part of Oakland that you may not be too comfortable with,” Aziz says.\u003c/p>\n\u003cfigure id=\"attachment_10287336\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287336 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg\" alt=\"tumblr_n233f9OtQ51rjhvsdo1_1280\" width=\"400\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-927x1180.jpg 927w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, \u003cem>Portrait of a Potential Black Girl\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>He also focuses on photo manipulation inspired by \u003ca href=\"http://www.ebony.com/entertainment-culture/black-alt-enter-afrofuturism-999#axzz3OJd7yEVe\">Afrofuturism\u003c/a>, the movement of black sci-fi and fantasy culture born in the late 1970s (think Parliament, Sun Ra, Octavia Butler and, more recently, Janelle Monáe).\u003c/p>\n\u003cp>If approached at random on the street and asked, “Are the lives of black people just as important as the lives of white people?,” most people would likely say yes. Yet at the same time, young black children all over America struggle to find positive role models and depictions of themselves in the media. How are they supposed to plan a future? That’s where Afrofuturism comes in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aziz’s work projects a positive future for black people, outside of the stereotypical box. “I just like projecting so-called blackness in the past, present and future,” he says. “I like to look toward our future and create realisms for us and alternatives.”\u003c/p>\n\u003cp>As Aziz says, “We may not always have [healing spaces] or know where to find them, or know they exist. I think art is one of the ways that you can have a healing space.”\u003c/p>\n\u003cp>\u003cem>Find Amir Aziz on Twitter as \u003ca href=\"https://twitter.com/amirazizme\">@amirazizme\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287457\" class=\"wp-caption alignleft\" style=\"max-width: 276px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o-400x457.jpg\" alt=\"Lady Rose\" width=\"276\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Roselyn Berry, 30, “All my work is political regardless of the subject matter, it always comes from a political lens of how we’re unified and how we’re liberated and using creative expression as a tool and a means for social change.”\u003c/figcaption>\u003c/figure>\n\u003cp>Writer and spoken-word artist Roselyn Berry, a.k.a. \u003ca href=\"http://www.revolutionarywords.com/\">Lady Rose\u003c/a>, has dedicated her life to uplifting African American communities. She’s been involved in social justice work for the last 14 years—11 of those in Boston, where she marched in solidarity for Oscar Grant, and three in the Bay Area.\u003c/p>\n\u003cp>“Having to see your folks be dehumanized and murdered over and over and over again, it’s just overly traumatizing and it’s difficult,” Berry says. “As an artist, it’s both what drives me to want to produce and it’s also what makes me feel like I can’t produce. It’s so personal, and it takes you to a place where I think sometimes my brain can’t even be creative, because it’s just too hard to deal with the reality of it.”\u003c/p>\n\u003cp>She struggled to write her piece titled “Hands Up, Don’t Shoot” right after Michael Brown was killed. It’s one of the only pieces she’s released to the public since. The overwhelming reality of the situation made it difficult for her to open up and channel the raw frustration and rage she felt into her writing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xe8GtqKzdds]\u003c/p>\n\u003cp>Nevertheless, Berry forces herself to write in such moments of urgency, because it enables black people to tell their stories and heal.\u003c/p>\n\u003cp>“Any time a life is lost, especially when it’s a life of a black or brown person, whether I knew them or not, it feels personal to me,” she explains. “Because we’ve lost someone from our community. Because we’ve lost another soldier. Because we’ve lost another warrior. And regardless of whatever judgements folks had about how those people lived their lives or whatever decisions they made—which none of us really know anyways—it’s still another life.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/173264661″]\u003c/p>\n\u003cp>As a social justice worker, Berry is familiar with the issues that over-policing causes in black communities, but it doesn’t stop the hurt. She wants to see more at the rallies, protests and marches. Not just chanting or spoken word, but full ceremony, song and dance. “We’ve gotten to a point where we start to view creative expression as an accessory to the movement, or as something that we integrate as opposed to a centerpiece,” she says. “I’d like to see us start to recognize that freedom of expression has always been a tactic that our folks have used to come together around, and we don’t do enough of it.”\u003c/p>\n\u003cp>\u003cem>Find Roselyn Berry on Facebook as \u003ca href=\"https://www.facebook.com/pages/Lady-Rose/1555648477986357?fref=nf\">Lady Rose\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10288514\" class=\"wp-caption alignleft\" style=\"max-width: 301px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10288514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png\" alt=\"Adimu Madyun is the healer and facilitator of DeterminiNation \" width=\"301\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png 782w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Adimu Madyun says the best way to protest is to be in alignment mentally, physically, spiritually and emotionally.\u003c/figcaption>\u003c/figure>\n\u003cp>A traditionally successful access point for black communities is hip-hop, an artistic space of healing, political engagement and success—particularly for black folks. \u003ca href=\"http://www.determinationmedia.org/\">DetermiNation\u003c/a> is a black men’s group affiliated with \u003ca href=\"http://unitedrootsoakland.org/\">United Roots Oakland\u003c/a>. The group gives young men ages 19-26 a space to learn, to heal from the trauma of lives characterized by poverty and drugs, and to focus on what they want to affirm in their future as opposed to what their life is about in the present.\u003c/p>\n\u003cp>For the men of DetermiNation, the death of a peer is nothing new. It’s part of the daily struggle that’s plagued African-American communities for centuries.\u003c/p>\n\u003cp>Group facilitator Adimu Madyun encourages the men of DetermiNation to focus on improving themselves mentally, physically, spiritually and emotionally through art. To Madyun, music is an integral part. He also tells his men not to get too deep into protests and instead focus on empowering themselves first, so as to make their families, organizations and communities strong.\u003c/p>\n\u003cp>“The world of the protests can be very confusing, because they get out there and march with all kinds of people, and then they realize they still have nothing,” Madyun says. “When the protests are done, they are still on the street.”\u003c/p>\n\u003cp>When first creating music, many of the men in DetermiNation rap and sing about “terrible stuff,” Madyun says, citing sexism, violence and drugs—subjects more ‘ratchet’ than political. But Madyun lets them work through that, and then provides them with a solution. “You have to talk and teach and sell what social responsibility is, he says. “You have to get them excited about being responsible.”\u003c/p>\n\u003cp>DetermiNation provides an environment for men to critique one another and show love in order to get to the next stage of creating art with a social message. In the song “Living Wealthy,” for example, Madyun raps about healing the men, as the others rap about seeing their community overcome racial and economic inequality.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/140436882″]\u003c/p>\n\u003cp>\u003cem>Find DetermiNation on Twitter as \u003ca href=\"https://twitter.com/DetermiNationMG\">@DetermiNationMG\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287474\" class=\"wp-caption alignleft\" style=\"max-width: 237px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287474\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\" alt=\"(Photo Credit: Arturo Torres/atorresphoto.com) \" width=\"237\" height=\"237\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">IAMSU!: “It’s necessary for us to voice our opinions and speak up, because if we don’t then they’ll think they can just walk all over us.” (Photo: Arturo Torres)\u003c/figcaption>\u003c/figure>\n\u003cp>Richmond hip-hop artist Sudan Williams, a.k.a. \u003ca href=\"http://hbkiamsu.com/\">IAMSU!\u003c/a>, was a youth leader before he started making music full-time—and now he’s got the ear of the people. As a talented rapper and producer whose social media game is on point, Su’s following expands well beyond the Bay Area and the United States.\u003c/p>\n\u003cp>Su’s at that artistic sweet spot: on the creative come-up, but not too good for his mom’s house in Pinole. “I come here and I have to deal with the problems that go on here,” he explains, “so this is what directly affects me. So I consider myself a local artist, the things that I convey in my music are all things that I’ve seen living out here.”\u003c/p>\n\u003cp>As a musician, he’s been making music with good vibes. But the momentous energy of recent events within the black community have him thinking about the type of artist he wants to be. Normally, he just reports his experience as a young black man, be it the struggle of his peers or simply being in the club. But “lately I’ve been having a conflict of what I talk about in my music, just because of these things that are going on,” he reports. “I’ve been having trouble approaching things the way that I used to. I know I need to be more attentive to what I’m actually saying in my music, and I want people to take [away] something of value.”\u003c/p>\n\u003cp>His debut album \u003cem>Sincerely Yours\u003c/em> came out in May of last year. The song “Problems” touches on the issue of black people’s struggles, such as enduring the world’s limited historical perspective on black lives, obstacles to buying real estate, and more.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=orYme0D5yJw&w=560&h=315]\u003c/p>\n\u003cp>Ironically, Su’s hesitant about being too political and preachy in his music. His place of healing comes primarily through conducting toy- and backpack-collection drives in Oakland. Su’s challenge is in how he can lead people away from fear and self-hatred while growing as an artist that’s true to himself and his own personal progression.\u003c/p>\n\u003cp>Or, as he puts it: “The generation that I cater to isn’t really receptive to being just badgered and harassed with a message, you know?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Find IAMSU! on Twitter at \u003ca href=\"https://twitter.com/IAMSU\">@IAMSU\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inequality and police brutality aren’t exactly new, but social media is. And in reaction to the recent spate of killings of unarmed black men, which have been well-documented by smartphones and online sharing, society is once again revisiting the issue of racism. The feelings of grief and frustration among black youth and those in solidarity can be seen in the #BlackLivesMatter movement, which has brought millions of people together in protest of police violence.\u003c/p>\n\u003cp>Sometimes, \u003ca href=\"http://ww2.kqed.org/news/2014/12/19/Berkeley-businesses-respond-michael-brown-protests-black-lives-matter\">certain aspects of street protests\u003c/a> stray from the core idea of what it means to be young and black in America. But a handful of local artists are taking back that idea by creating a space—through their art—to heal from the systemic racism that breeds fear, self-doubt and self-hatred within black communities.\u003c/p>\n\u003cfigure id=\"attachment_10287334\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287334 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\" alt=\"tumblr_mng1s1r9Uk1qjzkeqo1_1280\" width=\"300\" height=\"220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, 21: “I want to actually tell the story of what happened at the moment for us now and for later too.” (Photo credit: Kristian Contreras/Youthful Kinfolk)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://amiraziz.me/\">Amir Aziz\u003c/a> is a graphic artist, photographer and Oakland native who’s part of the Bay Area art collective \u003ca href=\"http://youthfulkinfolk.com/\">Youthful Kinfolk\u003c/a>, a group of young people interested in pushing Bay Area art and culture further. Aziz chronicles the movements that sprout from the deaths and resulting trials of unarmed black men, putting them together in a “collection of unity.” His collection demonstrates how Oakland’s young people of color interact with various events happening all over the nation. “I go to these events and I document them, and I want to share that with everyone—share what you miss when you’re not in this part of Oakland that you may not be too comfortable with,” Aziz says.\u003c/p>\n\u003cfigure id=\"attachment_10287336\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287336 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg\" alt=\"tumblr_n233f9OtQ51rjhvsdo1_1280\" width=\"400\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-927x1180.jpg 927w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, \u003cem>Portrait of a Potential Black Girl\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>He also focuses on photo manipulation inspired by \u003ca href=\"http://www.ebony.com/entertainment-culture/black-alt-enter-afrofuturism-999#axzz3OJd7yEVe\">Afrofuturism\u003c/a>, the movement of black sci-fi and fantasy culture born in the late 1970s (think Parliament, Sun Ra, Octavia Butler and, more recently, Janelle Monáe).\u003c/p>\n\u003cp>If approached at random on the street and asked, “Are the lives of black people just as important as the lives of white people?,” most people would likely say yes. Yet at the same time, young black children all over America struggle to find positive role models and depictions of themselves in the media. How are they supposed to plan a future? That’s where Afrofuturism comes in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aziz’s work projects a positive future for black people, outside of the stereotypical box. “I just like projecting so-called blackness in the past, present and future,” he says. “I like to look toward our future and create realisms for us and alternatives.”\u003c/p>\n\u003cp>As Aziz says, “We may not always have [healing spaces] or know where to find them, or know they exist. I think art is one of the ways that you can have a healing space.”\u003c/p>\n\u003cp>\u003cem>Find Amir Aziz on Twitter as \u003ca href=\"https://twitter.com/amirazizme\">@amirazizme\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287457\" class=\"wp-caption alignleft\" style=\"max-width: 276px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o-400x457.jpg\" alt=\"Lady Rose\" width=\"276\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Roselyn Berry, 30, “All my work is political regardless of the subject matter, it always comes from a political lens of how we’re unified and how we’re liberated and using creative expression as a tool and a means for social change.”\u003c/figcaption>\u003c/figure>\n\u003cp>Writer and spoken-word artist Roselyn Berry, a.k.a. \u003ca href=\"http://www.revolutionarywords.com/\">Lady Rose\u003c/a>, has dedicated her life to uplifting African American communities. She’s been involved in social justice work for the last 14 years—11 of those in Boston, where she marched in solidarity for Oscar Grant, and three in the Bay Area.\u003c/p>\n\u003cp>“Having to see your folks be dehumanized and murdered over and over and over again, it’s just overly traumatizing and it’s difficult,” Berry says. “As an artist, it’s both what drives me to want to produce and it’s also what makes me feel like I can’t produce. It’s so personal, and it takes you to a place where I think sometimes my brain can’t even be creative, because it’s just too hard to deal with the reality of it.”\u003c/p>\n\u003cp>She struggled to write her piece titled “Hands Up, Don’t Shoot” right after Michael Brown was killed. It’s one of the only pieces she’s released to the public since. The overwhelming reality of the situation made it difficult for her to open up and channel the raw frustration and rage she felt into her writing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xe8GtqKzdds'\n title='//www.youtube.com/embed/xe8GtqKzdds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nevertheless, Berry forces herself to write in such moments of urgency, because it enables black people to tell their stories and heal.\u003c/p>\n\u003cp>“Any time a life is lost, especially when it’s a life of a black or brown person, whether I knew them or not, it feels personal to me,” she explains. “Because we’ve lost someone from our community. Because we’ve lost another soldier. Because we’ve lost another warrior. And regardless of whatever judgements folks had about how those people lived their lives or whatever decisions they made—which none of us really know anyways—it’s still another life.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/173264661″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/173264661″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a social justice worker, Berry is familiar with the issues that over-policing causes in black communities, but it doesn’t stop the hurt. She wants to see more at the rallies, protests and marches. Not just chanting or spoken word, but full ceremony, song and dance. “We’ve gotten to a point where we start to view creative expression as an accessory to the movement, or as something that we integrate as opposed to a centerpiece,” she says. “I’d like to see us start to recognize that freedom of expression has always been a tactic that our folks have used to come together around, and we don’t do enough of it.”\u003c/p>\n\u003cp>\u003cem>Find Roselyn Berry on Facebook as \u003ca href=\"https://www.facebook.com/pages/Lady-Rose/1555648477986357?fref=nf\">Lady Rose\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10288514\" class=\"wp-caption alignleft\" style=\"max-width: 301px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10288514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png\" alt=\"Adimu Madyun is the healer and facilitator of DeterminiNation \" width=\"301\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png 782w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Adimu Madyun says the best way to protest is to be in alignment mentally, physically, spiritually and emotionally.\u003c/figcaption>\u003c/figure>\n\u003cp>A traditionally successful access point for black communities is hip-hop, an artistic space of healing, political engagement and success—particularly for black folks. \u003ca href=\"http://www.determinationmedia.org/\">DetermiNation\u003c/a> is a black men’s group affiliated with \u003ca href=\"http://unitedrootsoakland.org/\">United Roots Oakland\u003c/a>. The group gives young men ages 19-26 a space to learn, to heal from the trauma of lives characterized by poverty and drugs, and to focus on what they want to affirm in their future as opposed to what their life is about in the present.\u003c/p>\n\u003cp>For the men of DetermiNation, the death of a peer is nothing new. It’s part of the daily struggle that’s plagued African-American communities for centuries.\u003c/p>\n\u003cp>Group facilitator Adimu Madyun encourages the men of DetermiNation to focus on improving themselves mentally, physically, spiritually and emotionally through art. To Madyun, music is an integral part. He also tells his men not to get too deep into protests and instead focus on empowering themselves first, so as to make their families, organizations and communities strong.\u003c/p>\n\u003cp>“The world of the protests can be very confusing, because they get out there and march with all kinds of people, and then they realize they still have nothing,” Madyun says. “When the protests are done, they are still on the street.”\u003c/p>\n\u003cp>When first creating music, many of the men in DetermiNation rap and sing about “terrible stuff,” Madyun says, citing sexism, violence and drugs—subjects more ‘ratchet’ than political. But Madyun lets them work through that, and then provides them with a solution. “You have to talk and teach and sell what social responsibility is, he says. “You have to get them excited about being responsible.”\u003c/p>\n\u003cp>DetermiNation provides an environment for men to critique one another and show love in order to get to the next stage of creating art with a social message. In the song “Living Wealthy,” for example, Madyun raps about healing the men, as the others rap about seeing their community overcome racial and economic inequality.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/140436882″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/140436882″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Find DetermiNation on Twitter as \u003ca href=\"https://twitter.com/DetermiNationMG\">@DetermiNationMG\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287474\" class=\"wp-caption alignleft\" style=\"max-width: 237px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287474\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\" alt=\"(Photo Credit: Arturo Torres/atorresphoto.com) \" width=\"237\" height=\"237\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">IAMSU!: “It’s necessary for us to voice our opinions and speak up, because if we don’t then they’ll think they can just walk all over us.” (Photo: Arturo Torres)\u003c/figcaption>\u003c/figure>\n\u003cp>Richmond hip-hop artist Sudan Williams, a.k.a. \u003ca href=\"http://hbkiamsu.com/\">IAMSU!\u003c/a>, was a youth leader before he started making music full-time—and now he’s got the ear of the people. As a talented rapper and producer whose social media game is on point, Su’s following expands well beyond the Bay Area and the United States.\u003c/p>\n\u003cp>Su’s at that artistic sweet spot: on the creative come-up, but not too good for his mom’s house in Pinole. “I come here and I have to deal with the problems that go on here,” he explains, “so this is what directly affects me. So I consider myself a local artist, the things that I convey in my music are all things that I’ve seen living out here.”\u003c/p>\n\u003cp>As a musician, he’s been making music with good vibes. But the momentous energy of recent events within the black community have him thinking about the type of artist he wants to be. Normally, he just reports his experience as a young black man, be it the struggle of his peers or simply being in the club. But “lately I’ve been having a conflict of what I talk about in my music, just because of these things that are going on,” he reports. “I’ve been having trouble approaching things the way that I used to. I know I need to be more attentive to what I’m actually saying in my music, and I want people to take [away] something of value.”\u003c/p>\n\u003cp>His debut album \u003cem>Sincerely Yours\u003c/em> came out in May of last year. The song “Problems” touches on the issue of black people’s struggles, such as enduring the world’s limited historical perspective on black lives, obstacles to buying real estate, and more.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/orYme0D5yJw'\n title='//www.youtube.com/embed/orYme0D5yJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ironically, Su’s hesitant about being too political and preachy in his music. His place of healing comes primarily through conducting toy- and backpack-collection drives in Oakland. Su’s challenge is in how he can lead people away from fear and self-hatred while growing as an artist that’s true to himself and his own personal progression.\u003c/p>\n\u003cp>Or, as he puts it: “The generation that I cater to isn’t really receptive to being just badgered and harassed with a message, you know?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Find IAMSU! on Twitter at \u003ca href=\"https://twitter.com/IAMSU\">@IAMSU\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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