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"title": "Fifty Years and Counting: Why John Coltrane’s ‘A Love Supreme’ Is Still a Musical Revelation",
"headTitle": "Fifty Years and Counting: Why John Coltrane’s ‘A Love Supreme’ Is Still a Musical Revelation | 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/a-love-supreme-50th-anniversary/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘A Love Supreme’ 50th Anniversary\u003c/h4>\n\u003cdiv class=\"event-desc\">Multiple events celebrating a masterpiece\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>DEC. 10-14\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-love-supreme-50th-anniversary/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even the album’s cover photo is unforgettable – and a bit jarring. Is \u003ca href=\"http://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> angry? In pain? Contemplative? \u003ca href=\"https://www.youtube.com/watch?v=TmD16eSy-Mg\" target=\"_blank\" rel=\"noopener\">\u003ci>A Love Supreme\u003c/i>\u003c/a> is one of the most recognizable, most successful and most influential jazz albums in history. Recorded in 1964, it’s Coltrane at his best, a milestone piece of art that set a new standard for jazz language, and is to music what Joyce’s \u003ci>Ulysses\u003c/i> is to literature or Scorcese’s \u003ci>Taxi Driver\u003c/i> is to film.\u003c/p>\n\u003cp>In four parts that last 33 minutes, Coltrane’s album ascends scales with verve and intensity, moving from intimate note-making and soulful introspection to, as in the third part called “Pursuance,” all-out explosions of fury and finality. Coltrane devoted the album to God, but \u003ci>A Love Supreme\u003c/i> can be understood by any listener, from any culture, as a journey of discovery. The highs are there in abundance, but so too are the stops and starts and transitions – the mesmerizing transitions – that lead to the journey’s end. Salvation doesn’t come without struggle. Beauty is found in dissonant notes. Generations of music-lovers and musicians, including Carlos Santana and U2’s Bono, have embraced \u003ci>A Love Supreme\u003c/i> as divine music.\u003c/p>\n\u003cfigure id=\"attachment_10202259\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/coltrane-400x397.jpg\" alt=\"John Colrane, A Love Supreme\" width=\"400\" height=\"397\" class=\"size-thumbnail wp-image-10202259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-603x600.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">John Colrane, \u003ci>A Love Supreme\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>From Wednesday to Sunday (December 10-14), \u003ca href=\"http://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ is celebrating\u003c/a> the 50\u003csup>th\u003c/sup> anniversary of Coltrane’s album with six major events that pay homage to Coltrane’s vision and its continuing influence on the world of jazz. Coltrane’s saxophone-playing son \u003ca href=\"http://en.wikipedia.org/wiki/Ravi_Coltrane\" target=\"_blank\" rel=\"noopener\">Ravi\u003c/a>, named after the Indian sitarist \u003ca href=\"http://en.wikipedia.org/wiki/Ravi_Shankar\" target=\"_blank\" rel=\"noopener\">Ravi Shankar\u003c/a>, is featured in the first five events, starting with a Wednesday symposium (Dec. 10, 7:30pm) at the SFJAZZ Center that also features \u003ca href=\"http://clivedavisinst.tisch.nyu.edu/object/kahna.html\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, author of the must-read 2002 book, \u003ca href=\"http://www.alovesupremethebook.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>A Love Supreme: The Story of John Coltrane’s Signature Album\u003c/i>\u003c/a>. When I interviewed Ravi Shankar in 2002, he remembered meeting Coltrane in the 1960s and finding “turmoil” in Coltrane’s music. The turmoil, Shankar said, was disturbing.\u003c/p>\n\u003cp>But in re-listening to \u003ci>A Love Supreme\u003c/i> for Kahn’s book, Shankar rethought this view and told Kahn he found the album “beautiful, especially the climax in the third movement (“Pursuance”), then the resolution of the whole last piece (“Psalm”).”\u003c/p>\n\u003cp>“Psalm” does, indeed, resolve \u003ci>A Love Supreme\u003c/i>, with \u003ca href=\"http://en.wikipedia.org/wiki/Elvin_Jones\" target=\"_blank\" rel=\"noopener\">drummer Elvin Jones\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/McCoy_Tyner\" target=\"_blank\" rel=\"noopener\">pianist McCoy Tyner\u003c/a>, and \u003ca href=\"http://en.wikipedia.org/wiki/Jimmy_Garrison\" target=\"_blank\" rel=\"noopener\">bassist Jimmy Garrison\u003c/a> all joining Coltrane’s saxophone in a sustained and gripping convergence that lasts seven minutes. The intensity of \u003ci>A Love Supreme\u003c/i> can be challenging for first-time listeners. Coltrane died in 1967 at age 40, and his last three years of recordings, when he veered into more and more ecstatic music, are Coltrane at his most fervorous. In \u003ca href=\"http://en.wikipedia.org/wiki/Live_in_Seattle_%28John_Coltrane_album%29\" target=\"_blank\" rel=\"noopener\">\u003ci>Live in Seattle\u003c/i>\u003c/a>, which was recorded in 1965, Coltrane and saxophonist Pharaoh Sanders frequently employed “squawking” – bursts of atonal riffs – that turned off many of Coltrane’s earliest fans. As a bandleader, Coltrane’s most accessible album is \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/My_Favorite_Things_%28album%29\" target=\"_blank\" rel=\"noopener\">My Favorite Things\u003c/a>\u003c/em> from 1961; the title song plays with the signature tune from \u003ci>The Sound of Music\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Coltrane was always pushing himself in new directions. Where \u003cem>My Favorite Things\u003c/em> – like \u003ci>A Love Supreme\u003c/i> – sounds as fresh today as it did decades ago, it was a relatively safe creation. \u003ci>A Love Supreme\u003c/i> was deeply personal. Coltrane, who was raised in North Carolina with the religious values of the black church, went though a period of heavy drug use in his late 20s and early 30s, and then kicked his habit in 1957. In the liner notes of \u003ci>A Love Supreme\u003c/i>, Coltrane said his new compositions were testimony to God’s guidance and of his “richer, fuller, more productive life” and his ability “to make others happy through music.” But Coltrane implied that he still struggled with addictive behavior.\u003c/p>\n\u003cfigure id=\"attachment_10196566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Coltrane-liner-notes-e1418077845663.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10196566\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Coltrane-liner-notes-e1418077845663.jpg\" alt=\"Coltrane's liner notes from the 1965 album A Love Supreme\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coltrane’s liner notes from the 1965 album \u003ci>A Love Supreme\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>“As time and events moved on,” Coltrane wrote about his post-1957 life, “a period of irresolution did prevail. I entered into a phase which was contradictory to the pledge and away from the esteemed path; but thankfully, now and again through the unerring and merciful hand of God, I do perceive and have been duly re-informed of His OMNIPOTENCE, and of our need for, and dependence on Him. At this time I would like to tell you that NO MATTER WHAT … IT IS WITH GOD. HE IS GRACIOUS AND MERCIFUL. HIS WAY IS IN LOVE, THROUGH WHICH WE ALL ARE. IT IS TRULY – A LOVE SUPREME.”\u003c/p>\n\u003cp>On the album’s songs, Coltrane keeps the words to a minimum. The album begins with a Chinese gong, transitions to Coltrane’s brief scale-hopping, and settles into a stretch of relative quiet that is ruminative, introducing the four notes that correlate to the syllables and sounds of the words “A Love Supreme.” Then at 1:05, Coltrane takes off. For five minutes, he lets his saxophone wander in arresting directions, riffing, squawking, and improvising until slowing down and reclaiming the four-note bar that began the song. At 6:07, Coltrane chants the words “A Love Supreme” over and over – softly but assuredly – until 6:44, when Garrison, Tyner, and Jones pick up the atmosphere of the opening gambit and continue until the song, called “Acknowledgement,” ends a minute later. Achingly beautiful. That’s how I’d describe the entirety of \u003ci>A Love Supreme\u003c/i>.\u003c/p>\n\u003cp>To interpret \u003ci>A Love Supreme\u003c/i> at the SFJAZZ Center, Ravi Coltrane has chosen a mix of collaborators: \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Lovano\" target=\"_blank\" rel=\"noopener\">saxophonist Joe Lovano,\u003c/a> \u003ca href=\"http://en.wikipedia.org/wiki/Geri_Allen\" target=\"_blank\" rel=\"noopener\">pianist Geri Allen\u003c/a> and others on Thursday, Dec. 11, 7:30pm; the \u003ca href=\"http://en.wikipedia.org/wiki/Turtle_Island_Quartet\" target=\"_blank\" rel=\"noopener\">Turtle Island String Quartet\u003c/a> on Friday, Dec. 12, 7:30pm; \u003ca href=\"http://en.wikipedia.org/wiki/Nicholas_Payton\" target=\"_blank\" rel=\"noopener\">trumpeter Nicholas Payton\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Matt_Garrison\" target=\"_blank\" rel=\"noopener\">bassist Matthew Garrison\u003c/a> (son of Jimmy Garrison) and others on Saturday, December 13, 7:30pm; and the SFJAZZ High School All-Stars on Sunday, Dec. 14, 1pm. SFJAZZ’s Coltrane celebration reaches its denouement on Sunday, December 14, when \u003ca href=\"http://en.wikipedia.org/wiki/Steve_Coleman\" target=\"_blank\" rel=\"noopener\">saxophonist Steve Coleman\u003c/a> and his Five Elements band perform Coltrane’s music at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_10196569\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10196569\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki.jpg\" alt=\"A painting of John Coltrane from the Saint John Coltrane African Orthodox Church\" width=\"427\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki-400x439.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A painting of John Coltrane from the Saint John Coltrane African Orthodox Church \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The events are sold out or close to selling out – no surprise given the theme, the names involved, and SFJAZZ’s venue, which is an ideal place to hear music. But year-round, you can hear Coltrane’s music live, at the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Coltrane African Orthodox Church\u003c/a> on 1286 Fillmore Street between Turk and Eddy in San Francisco. Archbishop Franzo King, who is officially ordained by the African Orthodox Church, started the church in 1971, six years after seeing Coltrane perform and leaving convinced that God was speaking through his songs. Playing saxophone with other church clergy, King uses Coltrane’s music – especially \u003ci>A Love Supreme\u003c/i> – to preach God’s salvation. Attending the Sunday mass at noon is an experience like no other.\u003c/p>\n\u003cp>In 2000, when the church was located on Divisadero Street, Franzo King told me that Coltrane’s widow, the musician \u003ca href=\"http://en.wikipedia.org/wiki/Alice_Coltrane\" target=\"_blank\" rel=\"noopener\">Alice Coltrane\u003c/a>, had attended service at the church in the 1980s and blessed his work. “She walked into this building and told us that we were fulfilling John’s highest ideal,” King says. “His music,” King adds, “is still alive.”\u003c/p>\n\u003cp>It is. This week’s SFJAZZ celebration is further confirmation that \u003ci>A Love Supreme\u003c/i> is still a powerful work, still able to inspire people who hear its transportive notes and realize they’ve experienced something much deeper than “jazz music.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>SFJAZZ is celebrating the 50\u003csup>th\u003c/sup> anniversary of John Coltrane’s \u003cem>A Love Supreme\u003c/em> with a symposium and five concerts from Wednesday, December 10 to Sunday, December 14, 2014. For \u003ca href=\"http://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit sfjazz.org.\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/a-love-supreme-50th-anniversary/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘A Love Supreme’ 50th Anniversary\u003c/h4>\n\u003cdiv class=\"event-desc\">Multiple events celebrating a masterpiece\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>DEC. 10-14\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-love-supreme-50th-anniversary/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even the album’s cover photo is unforgettable – and a bit jarring. Is \u003ca href=\"http://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> angry? In pain? Contemplative? \u003ca href=\"https://www.youtube.com/watch?v=TmD16eSy-Mg\" target=\"_blank\" rel=\"noopener\">\u003ci>A Love Supreme\u003c/i>\u003c/a> is one of the most recognizable, most successful and most influential jazz albums in history. Recorded in 1964, it’s Coltrane at his best, a milestone piece of art that set a new standard for jazz language, and is to music what Joyce’s \u003ci>Ulysses\u003c/i> is to literature or Scorcese’s \u003ci>Taxi Driver\u003c/i> is to film.\u003c/p>\n\u003cp>In four parts that last 33 minutes, Coltrane’s album ascends scales with verve and intensity, moving from intimate note-making and soulful introspection to, as in the third part called “Pursuance,” all-out explosions of fury and finality. Coltrane devoted the album to God, but \u003ci>A Love Supreme\u003c/i> can be understood by any listener, from any culture, as a journey of discovery. The highs are there in abundance, but so too are the stops and starts and transitions – the mesmerizing transitions – that lead to the journey’s end. Salvation doesn’t come without struggle. Beauty is found in dissonant notes. Generations of music-lovers and musicians, including Carlos Santana and U2’s Bono, have embraced \u003ci>A Love Supreme\u003c/i> as divine music.\u003c/p>\n\u003cfigure id=\"attachment_10202259\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/coltrane-400x397.jpg\" alt=\"John Colrane, A Love Supreme\" width=\"400\" height=\"397\" class=\"size-thumbnail wp-image-10202259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-603x600.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coltrane.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">John Colrane, \u003ci>A Love Supreme\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>From Wednesday to Sunday (December 10-14), \u003ca href=\"http://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ is celebrating\u003c/a> the 50\u003csup>th\u003c/sup> anniversary of Coltrane’s album with six major events that pay homage to Coltrane’s vision and its continuing influence on the world of jazz. Coltrane’s saxophone-playing son \u003ca href=\"http://en.wikipedia.org/wiki/Ravi_Coltrane\" target=\"_blank\" rel=\"noopener\">Ravi\u003c/a>, named after the Indian sitarist \u003ca href=\"http://en.wikipedia.org/wiki/Ravi_Shankar\" target=\"_blank\" rel=\"noopener\">Ravi Shankar\u003c/a>, is featured in the first five events, starting with a Wednesday symposium (Dec. 10, 7:30pm) at the SFJAZZ Center that also features \u003ca href=\"http://clivedavisinst.tisch.nyu.edu/object/kahna.html\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, author of the must-read 2002 book, \u003ca href=\"http://www.alovesupremethebook.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>A Love Supreme: The Story of John Coltrane’s Signature Album\u003c/i>\u003c/a>. When I interviewed Ravi Shankar in 2002, he remembered meeting Coltrane in the 1960s and finding “turmoil” in Coltrane’s music. The turmoil, Shankar said, was disturbing.\u003c/p>\n\u003cp>But in re-listening to \u003ci>A Love Supreme\u003c/i> for Kahn’s book, Shankar rethought this view and told Kahn he found the album “beautiful, especially the climax in the third movement (“Pursuance”), then the resolution of the whole last piece (“Psalm”).”\u003c/p>\n\u003cp>“Psalm” does, indeed, resolve \u003ci>A Love Supreme\u003c/i>, with \u003ca href=\"http://en.wikipedia.org/wiki/Elvin_Jones\" target=\"_blank\" rel=\"noopener\">drummer Elvin Jones\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/McCoy_Tyner\" target=\"_blank\" rel=\"noopener\">pianist McCoy Tyner\u003c/a>, and \u003ca href=\"http://en.wikipedia.org/wiki/Jimmy_Garrison\" target=\"_blank\" rel=\"noopener\">bassist Jimmy Garrison\u003c/a> all joining Coltrane’s saxophone in a sustained and gripping convergence that lasts seven minutes. The intensity of \u003ci>A Love Supreme\u003c/i> can be challenging for first-time listeners. Coltrane died in 1967 at age 40, and his last three years of recordings, when he veered into more and more ecstatic music, are Coltrane at his most fervorous. In \u003ca href=\"http://en.wikipedia.org/wiki/Live_in_Seattle_%28John_Coltrane_album%29\" target=\"_blank\" rel=\"noopener\">\u003ci>Live in Seattle\u003c/i>\u003c/a>, which was recorded in 1965, Coltrane and saxophonist Pharaoh Sanders frequently employed “squawking” – bursts of atonal riffs – that turned off many of Coltrane’s earliest fans. As a bandleader, Coltrane’s most accessible album is \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/My_Favorite_Things_%28album%29\" target=\"_blank\" rel=\"noopener\">My Favorite Things\u003c/a>\u003c/em> from 1961; the title song plays with the signature tune from \u003ci>The Sound of Music\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coltrane was always pushing himself in new directions. Where \u003cem>My Favorite Things\u003c/em> – like \u003ci>A Love Supreme\u003c/i> – sounds as fresh today as it did decades ago, it was a relatively safe creation. \u003ci>A Love Supreme\u003c/i> was deeply personal. Coltrane, who was raised in North Carolina with the religious values of the black church, went though a period of heavy drug use in his late 20s and early 30s, and then kicked his habit in 1957. In the liner notes of \u003ci>A Love Supreme\u003c/i>, Coltrane said his new compositions were testimony to God’s guidance and of his “richer, fuller, more productive life” and his ability “to make others happy through music.” But Coltrane implied that he still struggled with addictive behavior.\u003c/p>\n\u003cfigure id=\"attachment_10196566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Coltrane-liner-notes-e1418077845663.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10196566\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Coltrane-liner-notes-e1418077845663.jpg\" alt=\"Coltrane's liner notes from the 1965 album A Love Supreme\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coltrane’s liner notes from the 1965 album \u003ci>A Love Supreme\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>“As time and events moved on,” Coltrane wrote about his post-1957 life, “a period of irresolution did prevail. I entered into a phase which was contradictory to the pledge and away from the esteemed path; but thankfully, now and again through the unerring and merciful hand of God, I do perceive and have been duly re-informed of His OMNIPOTENCE, and of our need for, and dependence on Him. At this time I would like to tell you that NO MATTER WHAT … IT IS WITH GOD. HE IS GRACIOUS AND MERCIFUL. HIS WAY IS IN LOVE, THROUGH WHICH WE ALL ARE. IT IS TRULY – A LOVE SUPREME.”\u003c/p>\n\u003cp>On the album’s songs, Coltrane keeps the words to a minimum. The album begins with a Chinese gong, transitions to Coltrane’s brief scale-hopping, and settles into a stretch of relative quiet that is ruminative, introducing the four notes that correlate to the syllables and sounds of the words “A Love Supreme.” Then at 1:05, Coltrane takes off. For five minutes, he lets his saxophone wander in arresting directions, riffing, squawking, and improvising until slowing down and reclaiming the four-note bar that began the song. At 6:07, Coltrane chants the words “A Love Supreme” over and over – softly but assuredly – until 6:44, when Garrison, Tyner, and Jones pick up the atmosphere of the opening gambit and continue until the song, called “Acknowledgement,” ends a minute later. Achingly beautiful. That’s how I’d describe the entirety of \u003ci>A Love Supreme\u003c/i>.\u003c/p>\n\u003cp>To interpret \u003ci>A Love Supreme\u003c/i> at the SFJAZZ Center, Ravi Coltrane has chosen a mix of collaborators: \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Lovano\" target=\"_blank\" rel=\"noopener\">saxophonist Joe Lovano,\u003c/a> \u003ca href=\"http://en.wikipedia.org/wiki/Geri_Allen\" target=\"_blank\" rel=\"noopener\">pianist Geri Allen\u003c/a> and others on Thursday, Dec. 11, 7:30pm; the \u003ca href=\"http://en.wikipedia.org/wiki/Turtle_Island_Quartet\" target=\"_blank\" rel=\"noopener\">Turtle Island String Quartet\u003c/a> on Friday, Dec. 12, 7:30pm; \u003ca href=\"http://en.wikipedia.org/wiki/Nicholas_Payton\" target=\"_blank\" rel=\"noopener\">trumpeter Nicholas Payton\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Matt_Garrison\" target=\"_blank\" rel=\"noopener\">bassist Matthew Garrison\u003c/a> (son of Jimmy Garrison) and others on Saturday, December 13, 7:30pm; and the SFJAZZ High School All-Stars on Sunday, Dec. 14, 1pm. SFJAZZ’s Coltrane celebration reaches its denouement on Sunday, December 14, when \u003ca href=\"http://en.wikipedia.org/wiki/Steve_Coleman\" target=\"_blank\" rel=\"noopener\">saxophonist Steve Coleman\u003c/a> and his Five Elements band perform Coltrane’s music at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_10196569\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10196569\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki.jpg\" alt=\"A painting of John Coltrane from the Saint John Coltrane African Orthodox Church\" width=\"427\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JohnColtraneWiki-400x439.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A painting of John Coltrane from the Saint John Coltrane African Orthodox Church \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The events are sold out or close to selling out – no surprise given the theme, the names involved, and SFJAZZ’s venue, which is an ideal place to hear music. But year-round, you can hear Coltrane’s music live, at the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Coltrane African Orthodox Church\u003c/a> on 1286 Fillmore Street between Turk and Eddy in San Francisco. Archbishop Franzo King, who is officially ordained by the African Orthodox Church, started the church in 1971, six years after seeing Coltrane perform and leaving convinced that God was speaking through his songs. Playing saxophone with other church clergy, King uses Coltrane’s music – especially \u003ci>A Love Supreme\u003c/i> – to preach God’s salvation. Attending the Sunday mass at noon is an experience like no other.\u003c/p>\n\u003cp>In 2000, when the church was located on Divisadero Street, Franzo King told me that Coltrane’s widow, the musician \u003ca href=\"http://en.wikipedia.org/wiki/Alice_Coltrane\" target=\"_blank\" rel=\"noopener\">Alice Coltrane\u003c/a>, had attended service at the church in the 1980s and blessed his work. “She walked into this building and told us that we were fulfilling John’s highest ideal,” King says. “His music,” King adds, “is still alive.”\u003c/p>\n\u003cp>It is. This week’s SFJAZZ celebration is further confirmation that \u003ci>A Love Supreme\u003c/i> is still a powerful work, still able to inspire people who hear its transportive notes and realize they’ve experienced something much deeper than “jazz music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest episode of the best new songs released online over the past month, including tracks by Tobias Jesso Jr., Jamie xx, Sun Kil Moon, Interpol, Hannah Diamond and more. \u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/December_2014_Best_of_Blogs.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Too busy to keep up with the best new music? Let the Noise Pop Podcast do the work for you. Each month we select the best new music buzzing around the Internet. This episode includes new music from Jamie xx, Sun Kil Moon, Interpol and more.\u003c/p>\n\u003cp>Enjoy!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Every Night” – Hannah Diamond, single\u003c/li>\n\u003cli>“What is What” – Interpol, \u003cem>Everything Is Wrong single\u003c/em>\u003c/li>\n\u003cli>“Tell Me” – Giraffage, \u003cem>No Reason\u003c/em> EP\u003c/li>\n\u003cli>“Continental Shelf” – Viet Cong, single\u003c/li>\n\u003cli>“Name That Thing” – Chumped, \u003cem>Teenage Retirement\u003c/em>\u003c/li>\n\u003cli>“Take My Side” – WIll Butler, \u003cem>Policy\u003c/em>\u003c/li>\n\u003cli>“Heavy” – William Ryan Fritch, \u003cem>Revisionist\u003c/em>\u003c/li>\n\u003cli>“Hollywood” – Tobias Jesso Jr. \u003cem>Hollywood\u003c/em>\u003c/li>\n\u003cli>“Sunrise” – Jamie xx, \u003cem>Continuum\u003c/em>\u003c/li>\n\u003cli>“The Possum” – Sun Kil Moon, single\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest episode of the best new songs released online over the past month, including tracks by Tobias Jesso Jr., Jamie xx, Sun Kil Moon, Interpol, Hannah Diamond and more. \u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/December_2014_Best_of_Blogs.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Too busy to keep up with the best new music? Let the Noise Pop Podcast do the work for you. Each month we select the best new music buzzing around the Internet. This episode includes new music from Jamie xx, Sun Kil Moon, Interpol and more.\u003c/p>\n\u003cp>Enjoy!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Every Night” – Hannah Diamond, single\u003c/li>\n\u003cli>“What is What” – Interpol, \u003cem>Everything Is Wrong single\u003c/em>\u003c/li>\n\u003cli>“Tell Me” – Giraffage, \u003cem>No Reason\u003c/em> EP\u003c/li>\n\u003cli>“Continental Shelf” – Viet Cong, single\u003c/li>\n\u003cli>“Name That Thing” – Chumped, \u003cem>Teenage Retirement\u003c/em>\u003c/li>\n\u003cli>“Take My Side” – WIll Butler, \u003cem>Policy\u003c/em>\u003c/li>\n\u003cli>“Heavy” – William Ryan Fritch, \u003cem>Revisionist\u003c/em>\u003c/li>\n\u003cli>“Hollywood” – Tobias Jesso Jr. \u003cem>Hollywood\u003c/em>\u003c/li>\n\u003cli>“Sunrise” – Jamie xx, \u003cem>Continuum\u003c/em>\u003c/li>\n\u003cli>“The Possum” – Sun Kil Moon, single\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Frank Portman Revisits the Torture of High School With 'King Dork Approximately'",
"headTitle": "Frank Portman Revisits the Torture of High School With ‘King Dork Approximately’ | 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/king-dork-approximately-book-release/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘King Dork Approximately’ Book Release\u003c/h4>\n\u003cdiv class=\"event-desc\">Star-studded free show, with trombones.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Dec. 7\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">1-2-3-4 Go! Records\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/king-dork-approximately-book-release/\">Details and info.\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003cstrong>I first met\u003c/strong> Dr. Frank over 23 years ago, in 1991, outside 924 Gilman in Berkeley. I was an avowed fan of his pop-punk band, the Mr. T Experience, but my purpose in talking to him was more immediate to my everyday reality: I wanted to know, for a series of band interviews I was conducting on the subject, his thoughts on high school.\u003c/p>\n\u003cp>“High school,” he opined, “would be better if it were more school and less high.”\u003c/p>\n\u003cp>He spent the next hour telling me about his own high school, Mills High in Millbrae—about the kid who died playing chicken; the valedictorian who used his speech to wish, in Latin, for a larger penis; and the day he was reported to the FBI for passing out hammer-and-sickle armbands to the marching band.\u003c/p>\n\u003cp>It’d be years before Dr. Frank, born Frank Portman, would call me up to play bass in his band. It’d be even more years before he would write his first Young Adult novel, the massively acclaimed \u003cem>King Dork\u003c/em>. But I knew right then and there that I had an ally in the demeaning experience known as the American public school system.\u003c/p>\n\u003cp>Now, with his third novel \u003cem>King Dork Approximately\u003c/em>, out this week and celebrated in a free \u003ca href=\"http://1234gorecords.com/events/2014/12/7/tba-1-2-3-4-go-records\" target=\"_blank\" rel=\"noopener\">book-release show on Dec. 7\u003c/a> in Oakland, Portman continues to display a perspicacious grasp of the teenage years that’s simultaneously eloquent and hilarious. The sequel picks up with \u003cem>King Dork’s\u003c/em> hero Tom Henderson, his conniving sidekick Sam Hellerman, his band (which has just changed its name from Encyclopedia Satanica to I Hate This Jar), and a rotating cast of weird teachers, even weirder baby-boomer parents and, weirdest and most mystifying of all, the school’s female population.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last week, after having not seen him for eight years, I caught up with Portman at Sparky’s in Oakland, down the way from the same apartment he’s called home since 1993. In trademark black band T-shirt, jeans and Converse, he really hadn’t changed much—except that now, instead of soundchecking, tuning his guitar and writing set lists, he’s on a tour of press interviews as a published author of teen fiction.\u003c/p>\n\u003cp>Well removed from high school himself, Portman credits songwriting with helping him maintain a teenage mindset throughout his 20s, 30s and 40s. The process of creating characters for Mr. T Experience songs, he says, isn’t unlike writing a Young Adult novel. “You very deliberately take a conventional topic, a conventional conceit, and then try to see what you can do to it to make it justify its existence by being different enough from all the other iterations of it,” he says. “That’s not every song, but it’s a lot of rock and roll—which is the mind of an obsessed teenager, writ large.”\u003c/p>\n\u003cp>And, of course, there’s Portman’s chosen lifestyle. “It helps that I never grew up. I don’t have a lot of hallmarks of adulthood. I don’t have kids. I don’t own anything,” he says, not at all ruefully. “I’ve only got massive debt. I guess that’s an adult thing, right?”\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10188494\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188494\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/FrankHS.jpg\" alt=\"Frank Portman as a budding rock 'n' roller at Mills High School, in Millbrae.\" width=\"300\" height=\"446\">\u003cfigcaption class=\"wp-caption-text\">Frank Portman as a budding rock ‘n’ roller at Mills High School, in Millbrae.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The East Bay punk rocker\u003c/strong> who “never grew up” actually did undergo a significant turning point into adulthood, however. In the mid-90s, Portman’s father died of cancer. And on his hospital bed, he issued to his son, then working a day job at UC Berkeley, an entirely unexpected bit of advice: to quit the job and keep playing punk rock.\u003c/p>\n\u003cp>“It was the sort of thing where we were discussing what’s important in life,” Portman recalls. “And I had—it wasn’t much—but I had this thing I was doing that \u003cem>only\u003c/em> I could do. That was the premise of the conversation: If I didn’t do it, no one was gonna do it, whatever that thing was. And there were a lot of people in bands, but then there was my particular screwy version of it.”\u003c/p>\n\u003cp>Shortly thereafter, the Mr. T Experience released its highest-selling album, \u003cem>Love Is Dead\u003c/em>, rife with Portman’s clever, smart songs that precede \u003cem>King Dork Approximately\u003c/em>‘s themes of alienation, self-doubt, unrequited love and being bullied. There’s even a hint on the record to Tom Henderson’s predilection for bygone cultural markers—\u003cem>Bye Bye Birdie\u003c/em>, Big Bill Broonzy, \u003cem>Brighton Rock\u003c/em> and a host of others—in the form of \u003ca href=\"https://www.youtube.com/watch?v=2J0QM8p0W-4\" target=\"_blank\" rel=\"noopener\">Dorothy Parker’s “Somebody’s Song,” set to breakneck distorted guitars\u003c/a>.\u003c/p>\n\u003cp>For a while—including the two years I played alongside him, touring around the country and Europe and drinking more gallons of beer together than possibly fathomable—the Mr. T Experience sustained Portman’s modest lifestyle. But after the band’s last album, 2004’s \u003cem>Yesterday Rules\u003c/em>, and after its longtime label Lookout Records folded, Portman embarked on writing \u003cem>King Dork\u003c/em>. He sold the idea to Random House, got an advance, and for months, while he went around telling people he was writing a book, he kept a Word file on his laptop titled ‘Novel.doc,’ which contained just one sentence: “There is no way I could ever write a whole novel.”\u003c/p>\n\u003cp>But finish the book he did. \u003cem>King Dork\u003c/em> went on to receive raves, from \u003cem>USA Today\u003c/em> to \u003cem>Entertainment Weekly\u003c/em>, and has even been optioned for a Hollywood movie by director Miguel Arteta. After a second novel, \u003cem>Andromeda Klein\u003c/em>, which featured a female protagonist, it only made sense to revisit Tom Henderson’s world of blood, guitars, the Bible, rock ‘n’ roll, and a vehement hatred for \u003cem>Catcher in the Rye\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10188502\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kda.jpg\" alt=\"King Dork Approximately\" width=\"300\" height=\"400\">King Dork Approximately\u003c/em>‘s engaging strength is in Tom’s running inner monologue; indeed, at least in the first half of the book, there’s not much action. “A lot of a teenager’s life doesn’t involve \u003cem>doing\u003c/em> a whole lot,” Portman explains. “There are exceptions, but the kind of world that Tom lives in, which is the kind of world a lot of us grew up in, all the interesting stuff is happening inside his head.”\u003c/p>\n\u003cp>Much of this running monologue consists of Tom’s distrust of teachers, of parents and of the school system in general. To those familiar with Portman’s relatively conservative position in the notoriously leftist East Bay punk scene, this aspect of the book might seem like a flowering of his anti-establishment side. But Portman contends it’s always been there.\u003c/p>\n\u003cp>“I remember talking to [\u003cem>MaximumRockNRoll\u003c/em> founder] Tim Yohannon once,” he says, “trying to basically explain to him my weird particular version of contrarianism, which is that no matter what subculture it is, there are people in charge of it who are kind of dumb.”\u003c/p>\n\u003cp>It’s the same with high school, he continues: “Where, you know, you just go along with everything, and then one day you wake up and you say, ‘This is all stupid. Why are they making me do this? Who made this up? Why are we doing it?’ That’s a very important thing. If you don’t go through that questioning part, then you can’t meaningfully participate in the world when you re-join it.”\u003c/p>\n\u003cp>In \u003cem>King Dork Approximately\u003c/em>, Tom continuously questions everything, from why the marching band has to wear silly berets to why his English teacher’s reading list includes \u003cem>A Farewell to Arms\u003c/em>. Meanwhile, he receives long rambling notes. He practices with his band for a benefit concert for the International Ted Nugent Center for the Promotion of Recycling. And yes, he ends up with the girl. I won’t say which one.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=FZkEYgp0RM4]\u003c/p>\n\u003cp>\u003cstrong>There’s an added bonus\u003c/strong> this year for Mr. T Experience fans: for the first time in 10 years, the band in its current incarnation re-entered the studio to record the “title track” of the book. It went so well, Portman says, that instead of recording two songs as planned, a full-length album is emerging.\u003c/p>\n\u003cp>At the book’s release show this weekend, Portman will play an amplified set with special guests, along with music from the Bye Bye Blackbirds, Chuck Prophet, Victor Krummenacher from Camper Van Beethoven, John Denery from the Hi-Fives and more. Jack Boulware, founder of Litquake and author of the seminal Bay Area oral history \u003cem>Gimme Something Better\u003c/em>, will read, along with others.\u003c/p>\n\u003cp>And after the album of \u003cem>King Dork Approximately\u003c/em> songs is recorded, Portman says he’s already got another album written and ready to go.\u003c/p>\n\u003cp>“I forgot how great it was to play in a living band,” he says, with a noticeable twinkle in his eye as our lunch winds down. “It was something I’d lost track of, a little bit. Now, it’s just like going back to the conversation I had with my dad, on his deathbed: there’s this thing, that for better or for worse, for good or ill, this kind of songwriting I do, I’m the only person that can do it. So I’m giving it a shot at existing.”\u003c/p>\n\u003cp>And as for what his dad might’ve made of his newfound writing career?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Oh, he would have been very tickled,” Portman says, “at the idea of me being an author.”\u003c/p>\n\n",
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"excerpt": "Frank Portman talks about his new novel 'King Dork Approximately,' his personal recollections of high school, and the resurrection of his East Bay punk band, the Mr. T Experience.",
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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/king-dork-approximately-book-release/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘King Dork Approximately’ Book Release\u003c/h4>\n\u003cdiv class=\"event-desc\">Star-studded free show, with trombones.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Dec. 7\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">1-2-3-4 Go! Records\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/king-dork-approximately-book-release/\">Details and info.\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003cstrong>I first met\u003c/strong> Dr. Frank over 23 years ago, in 1991, outside 924 Gilman in Berkeley. I was an avowed fan of his pop-punk band, the Mr. T Experience, but my purpose in talking to him was more immediate to my everyday reality: I wanted to know, for a series of band interviews I was conducting on the subject, his thoughts on high school.\u003c/p>\n\u003cp>“High school,” he opined, “would be better if it were more school and less high.”\u003c/p>\n\u003cp>He spent the next hour telling me about his own high school, Mills High in Millbrae—about the kid who died playing chicken; the valedictorian who used his speech to wish, in Latin, for a larger penis; and the day he was reported to the FBI for passing out hammer-and-sickle armbands to the marching band.\u003c/p>\n\u003cp>It’d be years before Dr. Frank, born Frank Portman, would call me up to play bass in his band. It’d be even more years before he would write his first Young Adult novel, the massively acclaimed \u003cem>King Dork\u003c/em>. But I knew right then and there that I had an ally in the demeaning experience known as the American public school system.\u003c/p>\n\u003cp>Now, with his third novel \u003cem>King Dork Approximately\u003c/em>, out this week and celebrated in a free \u003ca href=\"http://1234gorecords.com/events/2014/12/7/tba-1-2-3-4-go-records\" target=\"_blank\" rel=\"noopener\">book-release show on Dec. 7\u003c/a> in Oakland, Portman continues to display a perspicacious grasp of the teenage years that’s simultaneously eloquent and hilarious. The sequel picks up with \u003cem>King Dork’s\u003c/em> hero Tom Henderson, his conniving sidekick Sam Hellerman, his band (which has just changed its name from Encyclopedia Satanica to I Hate This Jar), and a rotating cast of weird teachers, even weirder baby-boomer parents and, weirdest and most mystifying of all, the school’s female population.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week, after having not seen him for eight years, I caught up with Portman at Sparky’s in Oakland, down the way from the same apartment he’s called home since 1993. In trademark black band T-shirt, jeans and Converse, he really hadn’t changed much—except that now, instead of soundchecking, tuning his guitar and writing set lists, he’s on a tour of press interviews as a published author of teen fiction.\u003c/p>\n\u003cp>Well removed from high school himself, Portman credits songwriting with helping him maintain a teenage mindset throughout his 20s, 30s and 40s. The process of creating characters for Mr. T Experience songs, he says, isn’t unlike writing a Young Adult novel. “You very deliberately take a conventional topic, a conventional conceit, and then try to see what you can do to it to make it justify its existence by being different enough from all the other iterations of it,” he says. “That’s not every song, but it’s a lot of rock and roll—which is the mind of an obsessed teenager, writ large.”\u003c/p>\n\u003cp>And, of course, there’s Portman’s chosen lifestyle. “It helps that I never grew up. I don’t have a lot of hallmarks of adulthood. I don’t have kids. I don’t own anything,” he says, not at all ruefully. “I’ve only got massive debt. I guess that’s an adult thing, right?”\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10188494\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188494\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/FrankHS.jpg\" alt=\"Frank Portman as a budding rock 'n' roller at Mills High School, in Millbrae.\" width=\"300\" height=\"446\">\u003cfigcaption class=\"wp-caption-text\">Frank Portman as a budding rock ‘n’ roller at Mills High School, in Millbrae.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The East Bay punk rocker\u003c/strong> who “never grew up” actually did undergo a significant turning point into adulthood, however. In the mid-90s, Portman’s father died of cancer. And on his hospital bed, he issued to his son, then working a day job at UC Berkeley, an entirely unexpected bit of advice: to quit the job and keep playing punk rock.\u003c/p>\n\u003cp>“It was the sort of thing where we were discussing what’s important in life,” Portman recalls. “And I had—it wasn’t much—but I had this thing I was doing that \u003cem>only\u003c/em> I could do. That was the premise of the conversation: If I didn’t do it, no one was gonna do it, whatever that thing was. And there were a lot of people in bands, but then there was my particular screwy version of it.”\u003c/p>\n\u003cp>Shortly thereafter, the Mr. T Experience released its highest-selling album, \u003cem>Love Is Dead\u003c/em>, rife with Portman’s clever, smart songs that precede \u003cem>King Dork Approximately\u003c/em>‘s themes of alienation, self-doubt, unrequited love and being bullied. There’s even a hint on the record to Tom Henderson’s predilection for bygone cultural markers—\u003cem>Bye Bye Birdie\u003c/em>, Big Bill Broonzy, \u003cem>Brighton Rock\u003c/em> and a host of others—in the form of \u003ca href=\"https://www.youtube.com/watch?v=2J0QM8p0W-4\" target=\"_blank\" rel=\"noopener\">Dorothy Parker’s “Somebody’s Song,” set to breakneck distorted guitars\u003c/a>.\u003c/p>\n\u003cp>For a while—including the two years I played alongside him, touring around the country and Europe and drinking more gallons of beer together than possibly fathomable—the Mr. T Experience sustained Portman’s modest lifestyle. But after the band’s last album, 2004’s \u003cem>Yesterday Rules\u003c/em>, and after its longtime label Lookout Records folded, Portman embarked on writing \u003cem>King Dork\u003c/em>. He sold the idea to Random House, got an advance, and for months, while he went around telling people he was writing a book, he kept a Word file on his laptop titled ‘Novel.doc,’ which contained just one sentence: “There is no way I could ever write a whole novel.”\u003c/p>\n\u003cp>But finish the book he did. \u003cem>King Dork\u003c/em> went on to receive raves, from \u003cem>USA Today\u003c/em> to \u003cem>Entertainment Weekly\u003c/em>, and has even been optioned for a Hollywood movie by director Miguel Arteta. After a second novel, \u003cem>Andromeda Klein\u003c/em>, which featured a female protagonist, it only made sense to revisit Tom Henderson’s world of blood, guitars, the Bible, rock ‘n’ roll, and a vehement hatred for \u003cem>Catcher in the Rye\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10188502\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kda.jpg\" alt=\"King Dork Approximately\" width=\"300\" height=\"400\">King Dork Approximately\u003c/em>‘s engaging strength is in Tom’s running inner monologue; indeed, at least in the first half of the book, there’s not much action. “A lot of a teenager’s life doesn’t involve \u003cem>doing\u003c/em> a whole lot,” Portman explains. “There are exceptions, but the kind of world that Tom lives in, which is the kind of world a lot of us grew up in, all the interesting stuff is happening inside his head.”\u003c/p>\n\u003cp>Much of this running monologue consists of Tom’s distrust of teachers, of parents and of the school system in general. To those familiar with Portman’s relatively conservative position in the notoriously leftist East Bay punk scene, this aspect of the book might seem like a flowering of his anti-establishment side. But Portman contends it’s always been there.\u003c/p>\n\u003cp>“I remember talking to [\u003cem>MaximumRockNRoll\u003c/em> founder] Tim Yohannon once,” he says, “trying to basically explain to him my weird particular version of contrarianism, which is that no matter what subculture it is, there are people in charge of it who are kind of dumb.”\u003c/p>\n\u003cp>It’s the same with high school, he continues: “Where, you know, you just go along with everything, and then one day you wake up and you say, ‘This is all stupid. Why are they making me do this? Who made this up? Why are we doing it?’ That’s a very important thing. If you don’t go through that questioning part, then you can’t meaningfully participate in the world when you re-join it.”\u003c/p>\n\u003cp>In \u003cem>King Dork Approximately\u003c/em>, Tom continuously questions everything, from why the marching band has to wear silly berets to why his English teacher’s reading list includes \u003cem>A Farewell to Arms\u003c/em>. Meanwhile, he receives long rambling notes. He practices with his band for a benefit concert for the International Ted Nugent Center for the Promotion of Recycling. And yes, he ends up with the girl. I won’t say which one.\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/FZkEYgp0RM4'\n title='//www.youtube.com/embed/FZkEYgp0RM4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s an added bonus\u003c/strong> this year for Mr. T Experience fans: for the first time in 10 years, the band in its current incarnation re-entered the studio to record the “title track” of the book. It went so well, Portman says, that instead of recording two songs as planned, a full-length album is emerging.\u003c/p>\n\u003cp>At the book’s release show this weekend, Portman will play an amplified set with special guests, along with music from the Bye Bye Blackbirds, Chuck Prophet, Victor Krummenacher from Camper Van Beethoven, John Denery from the Hi-Fives and more. Jack Boulware, founder of Litquake and author of the seminal Bay Area oral history \u003cem>Gimme Something Better\u003c/em>, will read, along with others.\u003c/p>\n\u003cp>And after the album of \u003cem>King Dork Approximately\u003c/em> songs is recorded, Portman says he’s already got another album written and ready to go.\u003c/p>\n\u003cp>“I forgot how great it was to play in a living band,” he says, with a noticeable twinkle in his eye as our lunch winds down. “It was something I’d lost track of, a little bit. Now, it’s just like going back to the conversation I had with my dad, on his deathbed: there’s this thing, that for better or for worse, for good or ill, this kind of songwriting I do, I’m the only person that can do it. So I’m giving it a shot at existing.”\u003c/p>\n\u003cp>And as for what his dad might’ve made of his newfound writing career?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oh, he would have been very tickled,” Portman says, “at the idea of me being an author.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Radio Show: Nerd, Dork, Diamond, Legend. And Burt Bacharach.",
"headTitle": "Radio Show: Nerd, Dork, Diamond, Legend. And Burt Bacharach. | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/12/20141205tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Burt Bacharach\u003c/h3>\n\u003cp>\u003cstrong>Note: The Burt Bacharach show at Davies Symphony Hall has been canceled.\u003c/strong>\u003c/p>\n\u003cp>From Dionne Warwick to \u003cem>Austin Powers\u003c/em>, the appeal of Burt Bacharach and Hal David’s collaborations is an enduring one. In this special concert, Bacharach appears at the piano backed by the San Francisco Symphony to play hits like “I Say A Little Prayer,” “What the World Needs Now” and “Walk on By” with a handful of guest vocalists. One of the last living “composer’s songwriters,” Bacharach is a national treasure; any opportunity to see him perform live is to be seized. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/burt-bacharach/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10159970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ChrisHardwick-400x225.jpg\" alt=\"Chris Hardwick\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ChrisHardwick-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ChrisHardwick.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Chris Hardwick\u003c/h3>\n\u003cp>He’s been an alt-rock radio DJ, a self-help author, a TV and movie actor, a video game contributor, a writer for \u003cem>Wired\u003c/em> and, with \u003cem>The Nerdist\u003c/em>, a podcast founder and host. Who could have predicted the zany host of MTV’s trashy 1990s dating show \u003cem>Singled Out\u003c/em> would go on to such a dynamic career? And yet Chris Hardwick has done all this and more. Running through all Hardwick’s work is a comedic streak, and when he’s on stage with a mic in his hand, he’s hard to beat in the stand-up world. In December, he plays three nights at Cobb’s to what should surely be an attentive, nerd-proud audience.\u003ca id=\"coltrane\" name=\"coltrane\">\u003c/a>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chris-hardwick/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10185614\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-400x224.jpg\" alt=\"A Love Supreme\" width=\"400\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP.jpg 1762w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘A Love Supreme’ 50th Anniversary\u003c/h3>\n\u003cp>John Coltrane’s landmark album turns 50 this month, and to celebrate its longstanding status, SFJAZZ brings in the second-best thing to Coltrane himself: his son. Over five days, Ravi Coltrane hosts a revolving door of guests to recreate the music and spirit of \u003cem>A Love Supreme\u003c/em>, including Nicholas Payton, Ishmael Reed, Joe Lovano, the Turtle Island Quartet and more. Now well-established outside his father’s shadow, Ravi Coltrane is a formidable talent in his own right—but indeed, every once in a while, there’s an unmistakably familiar tone in his playing that could only come from the royal bloodline. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-love-supreme-50th-anniversary/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_qt435yF2Qg\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10188496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/FrankPortman-400x225.jpg\" alt=\"Frank Portman\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/FrankPortman-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/FrankPortman.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Frank Portman\u003c/h3>\n\u003cp>Frank Portman from the East Bay punk band Mr. T Experience releases his third novel, \u003cem>King Dork Approximately\u003c/em>, with a star-studded free show of rock ‘n’ roll, reading, and trombones. Musical guests include Chuck Prophet, the Bye Bye Blackbirds, Victor Krummenacher, the Devil-ettes, John Denery and Dina Graves; readings by Jack Boulware, Bucky Sinister, Karen Finlay and Paige O’Donaghue. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/king-dork-approximately-book-release/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10185494\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/diamond-400x225.jpg\" alt=\"My Brightest Diamond\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/diamond-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/diamond-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/diamond.jpg 1054w\" sizes=\"(max-width: 400px) 100vw, 400px\">My Brightest Diamond\u003c/h3>\n\u003cp>Shara Worden is a clasically trained opera singer with a decidedly modernist outlook; her four albums under the name My Brightest Diamond employ fresh production and rich textures. Her latest full-length, \u003cem>This Is My Hand\u003c/em>, even features the Detroit Party Marching Band on the lead single “Pressure.” Live, Worden and her band combine live instrumentation with triggered effects and other electronics, making for an engaging experience. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/my-brightest-diamond/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Burt Bacharach\u003c/h3>\n\u003cp>\u003cstrong>Note: The Burt Bacharach show at Davies Symphony Hall has been canceled.\u003c/strong>\u003c/p>\n\u003cp>From Dionne Warwick to \u003cem>Austin Powers\u003c/em>, the appeal of Burt Bacharach and Hal David’s collaborations is an enduring one. In this special concert, Bacharach appears at the piano backed by the San Francisco Symphony to play hits like “I Say A Little Prayer,” “What the World Needs Now” and “Walk on By” with a handful of guest vocalists. One of the last living “composer’s songwriters,” Bacharach is a national treasure; any opportunity to see him perform live is to be seized. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/burt-bacharach/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10159970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ChrisHardwick-400x225.jpg\" alt=\"Chris Hardwick\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ChrisHardwick-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ChrisHardwick.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Chris Hardwick\u003c/h3>\n\u003cp>He’s been an alt-rock radio DJ, a self-help author, a TV and movie actor, a video game contributor, a writer for \u003cem>Wired\u003c/em> and, with \u003cem>The Nerdist\u003c/em>, a podcast founder and host. Who could have predicted the zany host of MTV’s trashy 1990s dating show \u003cem>Singled Out\u003c/em> would go on to such a dynamic career? And yet Chris Hardwick has done all this and more. Running through all Hardwick’s work is a comedic streak, and when he’s on stage with a mic in his hand, he’s hard to beat in the stand-up world. In December, he plays three nights at Cobb’s to what should surely be an attentive, nerd-proud audience.\u003ca id=\"coltrane\" name=\"coltrane\">\u003c/a>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chris-hardwick/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10185614\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-400x224.jpg\" alt=\"A Love Supreme\" width=\"400\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/John-Coltrane-A-Love-Supreme-LP.jpg 1762w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘A Love Supreme’ 50th Anniversary\u003c/h3>\n\u003cp>John Coltrane’s landmark album turns 50 this month, and to celebrate its longstanding status, SFJAZZ brings in the second-best thing to Coltrane himself: his son. Over five days, Ravi Coltrane hosts a revolving door of guests to recreate the music and spirit of \u003cem>A Love Supreme\u003c/em>, including Nicholas Payton, Ishmael Reed, Joe Lovano, the Turtle Island Quartet and more. Now well-established outside his father’s shadow, Ravi Coltrane is a formidable talent in his own right—but indeed, every once in a while, there’s an unmistakably familiar tone in his playing that could only come from the royal bloodline. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-love-supreme-50th-anniversary/\">Details and ticket information here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_qt435yF2Qg'\n title='//www.youtube.com/embed/_qt435yF2Qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10188496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/FrankPortman-400x225.jpg\" alt=\"Frank Portman\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/FrankPortman-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/FrankPortman.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Frank Portman\u003c/h3>\n\u003cp>Frank Portman from the East Bay punk band Mr. T Experience releases his third novel, \u003cem>King Dork Approximately\u003c/em>, with a star-studded free show of rock ‘n’ roll, reading, and trombones. Musical guests include Chuck Prophet, the Bye Bye Blackbirds, Victor Krummenacher, the Devil-ettes, John Denery and Dina Graves; readings by Jack Boulware, Bucky Sinister, Karen Finlay and Paige O’Donaghue. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/king-dork-approximately-book-release/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10185494\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/diamond-400x225.jpg\" alt=\"My Brightest Diamond\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/diamond-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/diamond-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/diamond.jpg 1054w\" sizes=\"(max-width: 400px) 100vw, 400px\">My Brightest Diamond\u003c/h3>\n\u003cp>Shara Worden is a clasically trained opera singer with a decidedly modernist outlook; her four albums under the name My Brightest Diamond employ fresh production and rich textures. Her latest full-length, \u003cem>This Is My Hand\u003c/em>, even features the Detroit Party Marching Band on the lead single “Pressure.” Live, Worden and her band combine live instrumentation with triggered effects and other electronics, making for an engaging experience. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/my-brightest-diamond/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live This Month: December 2014",
"headTitle": "Live This Month: December 2014 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Dream Police, bAd bAd, Mystic Braves, Creepers, Lecherous Gaze and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_December_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>December traditionally feels like something of a subdued month for live music, what with all of the holiday parties and holiday travel that consume so much of the month for so many of us. This year, however, there are plenty of bands hitting the road for December shows in S.F. Heck, New Year’s Eve alone is a veritable bonanza for indie music fans. In this mix, we’ve included a track from \u003ca href=\"https://www.facebook.com/thejuanmaclean\">The Juan MacLean\u003c/a>, who will be DJing at the Mezzanine, but all of San Francisco’s venues seem to be offering standout shows to ring in the new year.\u003c/p>\n\u003cp>Before NYE, though, consider seeing \u003ca href=\"http://wearedreampolice.blogspot.com/\">Dream Police\u003c/a>, the electronics-assisted side project of Mark Perro and Nick Chiericozzi from The Men. Sacred Bones Records describes it as “future primitive psychedelia,” which sounds pretty accurate and pretty good to us. Speaking of groups aided by electronics, \u003ca href=\"https://www.facebook.com/awvfts\">A Winged Victory For The Sullen\u003c/a>‘s second full length, \u003cem>Atomos\u003c/em>, finds the duo of Adam Wiltzie (Stars Of The Lid) and pianist Dustin O’Halloran employing synths to supplement their spacious orchestral compositions.\u003c/p>\n\u003cp>On the louder side of things, if you like heavy shoegaze music, \u003ca href=\"https://www.facebook.com/pages/Creepers/119626068060796\">Creepers\u003c/a> is a local band to definitely check out. The group includes Deafheaven members Shiv Mehra and Daniel Tracy, and recently released \u003cem>Lush\u003c/em> on local label All Black Recording Company. \u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a> recently relocated to SF from LA. Bandleader Jordan Corso previously spent time here with his band while recording their debut LP with producer JR White, and the group’s next local show is a Burger Records holiday party. Oh, and, on the subject of holiday shows, we’re co-presenting a \u003ca href=\"http://thebaybridged.com/2014/11/26/bay-bridged-presents-rock-n-roll-holiday-spectacular/\">Rock n Roll Holiday Spectacular\u003c/a> on December 17, which is a great opportunity to catch some excellent local bands, including \u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a>, who we’ve included in this mix.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://wearedreampolice.blogspot.com/\">Dream Police\u003c/a> – “Hypnotized”\u003cbr>\nPerforming at the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> on December 6 and \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on December 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lecherousgaze\">Lecherous Gaze\u003c/a> – “New Distortion”\u003cbr>\nReturning from Europe, the Oakland band hits the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> on December 4 and \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> on December 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mysticbraves\">Mystic Braves\u003c/a> – “Bright Blue Day Haze”\u003cbr>\nThe band headlines \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on December 27, with The Abigails, The Electric Magpie, Pearl Charles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Franciscotheman\">Francisco The Man\u003c/a> – “Big Ideas”\u003cbr>\nJoined by locals Luke Sweeney and Hot Flash Heat Wave at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on December 10.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/awvfts\">A Winged Victory For The Sullen\u003c/a> – “Atomos VII”\u003cbr>\nOn December 16, Hildur Gudnadottir opens for AWVFTS at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tashakimiyaki\">Tashaki Miyaki\u003c/a> – “I Came”\u003cbr>\nAt the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> on December 10 with Cool Ghouls, K.Skeleton, and Al Lover.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a> – “Before”\u003cbr>\nCotillon plays the “Burger Records Holiday Bash” at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on December 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tennysonmusic?fref=nf\">Tennyson\u003c/a> – “You’re Cute”\u003cbr>\nThe electronic duo joins Ryan Hemsworth, The Bilinda Butchers, and DJ Dials; see them at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on December 11.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thejuanmaclean\">The Juan MacLean\u003c/a> – “I’ve Waited For So Long”\u003cbr>\nComing to the \u003ca href=\"http://mezzaninesf.com/\">Mezzanine\u003c/a> for a DJ set on New Year’s Eve; Cut Copy and Saint Pepsi also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a> – “i don’t use gel i don’t use mousse”\u003cbr>\nPerforming at The Bay Bridged’s Rock n Roll Holiday Spectacular at \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on December 17 with Happy Diving, Cocktails, and Michael & The Strange Land.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/americanfootballmusic\">American Football\u003c/a> – “Never Meant”\u003cbr>\nThe reunited emo pioneers will appear on December 11 (with David Bazan) and 12 (with The Dodos) at \u003ca href=\"http://thefillmore.com/calendar/\">The Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Creepers/119626068060796\">Creepers\u003c/a> – “Stuck”\u003cbr>\nThe SF band plays with Dissolve and Shmu at \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on December 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/FoieGrasForever\">Foie Gras\u003c/a> – “Wants You In That Way”\u003cbr>\nLocal artist Foie Gras headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on December 18; Modern Man and Kid Trails also perform.\u003c/p>\n\n",
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"excerpt": "Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Dream Police, bAd bAd, Mystic Braves, Creepers, Lecherous Gaze and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Dream Police, bAd bAd, Mystic Braves, Creepers, Lecherous Gaze and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_December_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>December traditionally feels like something of a subdued month for live music, what with all of the holiday parties and holiday travel that consume so much of the month for so many of us. This year, however, there are plenty of bands hitting the road for December shows in S.F. Heck, New Year’s Eve alone is a veritable bonanza for indie music fans. In this mix, we’ve included a track from \u003ca href=\"https://www.facebook.com/thejuanmaclean\">The Juan MacLean\u003c/a>, who will be DJing at the Mezzanine, but all of San Francisco’s venues seem to be offering standout shows to ring in the new year.\u003c/p>\n\u003cp>Before NYE, though, consider seeing \u003ca href=\"http://wearedreampolice.blogspot.com/\">Dream Police\u003c/a>, the electronics-assisted side project of Mark Perro and Nick Chiericozzi from The Men. Sacred Bones Records describes it as “future primitive psychedelia,” which sounds pretty accurate and pretty good to us. Speaking of groups aided by electronics, \u003ca href=\"https://www.facebook.com/awvfts\">A Winged Victory For The Sullen\u003c/a>‘s second full length, \u003cem>Atomos\u003c/em>, finds the duo of Adam Wiltzie (Stars Of The Lid) and pianist Dustin O’Halloran employing synths to supplement their spacious orchestral compositions.\u003c/p>\n\u003cp>On the louder side of things, if you like heavy shoegaze music, \u003ca href=\"https://www.facebook.com/pages/Creepers/119626068060796\">Creepers\u003c/a> is a local band to definitely check out. The group includes Deafheaven members Shiv Mehra and Daniel Tracy, and recently released \u003cem>Lush\u003c/em> on local label All Black Recording Company. \u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a> recently relocated to SF from LA. Bandleader Jordan Corso previously spent time here with his band while recording their debut LP with producer JR White, and the group’s next local show is a Burger Records holiday party. Oh, and, on the subject of holiday shows, we’re co-presenting a \u003ca href=\"http://thebaybridged.com/2014/11/26/bay-bridged-presents-rock-n-roll-holiday-spectacular/\">Rock n Roll Holiday Spectacular\u003c/a> on December 17, which is a great opportunity to catch some excellent local bands, including \u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a>, who we’ve included in this mix.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://wearedreampolice.blogspot.com/\">Dream Police\u003c/a> – “Hypnotized”\u003cbr>\nPerforming at the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> on December 6 and \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on December 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lecherousgaze\">Lecherous Gaze\u003c/a> – “New Distortion”\u003cbr>\nReturning from Europe, the Oakland band hits the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> on December 4 and \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> on December 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mysticbraves\">Mystic Braves\u003c/a> – “Bright Blue Day Haze”\u003cbr>\nThe band headlines \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on December 27, with The Abigails, The Electric Magpie, Pearl Charles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Franciscotheman\">Francisco The Man\u003c/a> – “Big Ideas”\u003cbr>\nJoined by locals Luke Sweeney and Hot Flash Heat Wave at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on December 10.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/awvfts\">A Winged Victory For The Sullen\u003c/a> – “Atomos VII”\u003cbr>\nOn December 16, Hildur Gudnadottir opens for AWVFTS at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tashakimiyaki\">Tashaki Miyaki\u003c/a> – “I Came”\u003cbr>\nAt the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> on December 10 with Cool Ghouls, K.Skeleton, and Al Lover.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a> – “Before”\u003cbr>\nCotillon plays the “Burger Records Holiday Bash” at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on December 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tennysonmusic?fref=nf\">Tennyson\u003c/a> – “You’re Cute”\u003cbr>\nThe electronic duo joins Ryan Hemsworth, The Bilinda Butchers, and DJ Dials; see them at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on December 11.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thejuanmaclean\">The Juan MacLean\u003c/a> – “I’ve Waited For So Long”\u003cbr>\nComing to the \u003ca href=\"http://mezzaninesf.com/\">Mezzanine\u003c/a> for a DJ set on New Year’s Eve; Cut Copy and Saint Pepsi also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a> – “i don’t use gel i don’t use mousse”\u003cbr>\nPerforming at The Bay Bridged’s Rock n Roll Holiday Spectacular at \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on December 17 with Happy Diving, Cocktails, and Michael & The Strange Land.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/americanfootballmusic\">American Football\u003c/a> – “Never Meant”\u003cbr>\nThe reunited emo pioneers will appear on December 11 (with David Bazan) and 12 (with The Dodos) at \u003ca href=\"http://thefillmore.com/calendar/\">The Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Creepers/119626068060796\">Creepers\u003c/a> – “Stuck”\u003cbr>\nThe SF band plays with Dissolve and Shmu at \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on December 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/FoieGrasForever\">Foie Gras\u003c/a> – “Wants You In That Way”\u003cbr>\nLocal artist Foie Gras headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on December 18; Modern Man and Kid Trails also perform.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "gift-guide-8-releases-from-bay-area-bands-that-music-nerds-need",
"title": "Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need",
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"content": "\u003cp>It’s time to draw a line in the sand. It’s time that we made it official and declare that you can’t be a real music fan if you don’t buy physical releases of music.\u003c/p>\n\u003cp>Sure, you might have a pretty awesome collection of tracks on your computer or smart phone, but to quote \u003ca href=\"http://www.soundopinions.org/show/177/#marcweinstein\" target=\"_blank\" rel=\"noopener\">Marc Weinstein\u003c/a>, co-founder of Amoeba Music, “Buying an mp3 is kind of like buying a postcard of a Picasso painting, as compared to buying a really fine print that looks like the original.” The equivalent of a fine print of the original in music is the physical release; it’s a copy of what the artist truly envisioned. And if you truly care about that musician’s art, you’ll buy it in the form that they intended and treat yourself to the full experience.\u003c/p>\n\u003cp>Feeling guilty now for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area bands and support them in their endeavors. Though the list skews toward local punk and indie bands, we feel that these groups are doing something you need to support.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161550\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg\" alt=\"Rubber latex cover for Musk's self-titled LP (photo by David Bessenhoffer)\" width=\"400\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic-400x369.jpg 400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rubber latex cover for Musk’s self-titled LP (photo by David Bessenhoffer)\u003c/figcaption>\u003c/figure>\n\u003ch3>Musk – s/t\u003c/h3>\n\u003ch5>Holy Mountain\u003cbr>\n\u003ca href=\"http://www.holymountain.com/artists/musk/\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is the inspiration for this very article. These noisy swamp rockers from Oakland have released an album that’s so trashy and rockin’ that it holds up its own against albums by Pussy Galore (and Jon Spencer’s other bands), early White Zombie and even former Bay Area buzzsaw songster Ty Segall.\u003c/p>\n\u003cp>But the big reason why music nerds should take note is the rubber latex “special cover,” each handmade by singer Rob “Vertigo” Fletcher. A play on the \u003cem>Necronomicon\u003c/em> as depicted in film series \u003cem>The Evil Dead,\u003c/em> the cover is a thick sleeve with teeth, pimples and a small face protruding from its flesh-like encasing. All of the covers that have been made (about 125) have had custom paint jobs, making each one a singular work of art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161552\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161552 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg\" alt=\"Crime's <i>Murder By Guitar</i>\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Crime’s \u003ci>Murder By Guitar\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Crime – \u003ci>Murder By Guitar\u003c/i>\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/crime-murder-by-guitar-lp\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is a piece of San Francisco history. Crime was one of the first punk bands to start up in San Francisco and like many of the groups from the first wave of punk, they were far from being proficient at their instruments but they had a great look. Scratch that, they had THE BEST look for a punk band: police uniforms.\u003c/p>\n\u003cp>Crime’s early singles were harsh bursts of primitive rock and roll that, to untrained ears, sound like the band couldn’t decide if they wanted to be avant garde or pop. Playing a concert at San Quentin State Prison and having Sonic Youth cover them in their heyday cemented Crime in the “underground legends” category, which meant their first records could fetch hundreds of dollars.\u003c/p>\n\u003cp>But that doesn’t matter any longer, because now for just $17, you can own all the hits and a bunch of unreleased tracks — including a single recorded by Huey Lewis (yes, THE Huey Lewis) — on one LP, complete with beautiful black & white photos of the group in perfect poses all around the Bay Area (the poster included is a great shot of the group on Alcatraz). If you are a fan of Crime, this is worth every penny.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg\" alt=\"Cold Beat's <i>Over Me</i> on LP\" width=\"400\" height=\"374\" class=\"size-thumbnail wp-image-10161671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s \u003ci>Over Me\u003c/i> on LP\u003c/figcaption>\u003c/figure>\n\u003ch3>Cold Beat – \u003ci>Over Me\u003c/i>\u003c/h3>\n\u003ch5>Crime on the Moon\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/over-me-by-cold-beat-cd#.VHRMLFfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This recommendation is purely about the music on this album. I saw them recently and it was like the Ramones were playing shoegaze — just one big burst of jangly guitars and ethereal vocals. It made me feel young again (though I am only 34), and I couldn’t help myself from jumping up and down a lot of their set. \u003c/p>\n\u003cp>This album has been a wonderful substitute for re-living that live experience, though the buzzsaw guitar, full-bore indie rock (heavy on the RAWK) is measured on this release. Instead of the feel of a sweaty live show, you get atmospheres of all kinds — goth, twee, punk, cold wave, new wave — you name it, though all of it anglophile. Like Big Star did with the Beatles, Hannah Lew and crew write their own songs but wear their many influences on their sleeves, and that, like with Big Star, that can be exactly what you want.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161790\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg\" alt=\"Cover of Icky Boyfriends' <i>Live In San Francisco</i>\" width=\"400\" height=\"400\" class=\"size-full wp-image-10161790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Icky Boyfriends’ \u003ci>Live In San Francisco\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Icky Boyfriends – \u003ci>Live in San Francisco\u003c/i>\u003c/h3>\n\u003ch5>Castle Face\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/live-in-san-francisco-by-icky-boyfriends-cd#.VHRYFlfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>These guys, the Icky Boyfriends, might be the least accessible band on this list, but that doesn’t mean they’re not the greatest thing on the planet. The Icky Boyfriends are the future of rock, after rock has been forgotten by the mainstream. Then when people try to imitate this lost primitive art, they’ll realize the best stuff has bitchin’ riffs, wild drums and an obnoxious singer. \u003c/p>\n\u003cp>Produced by Sacramento studio wizard Chris Woodhouse, this is a recording of the band, long defunct but reuniting for a few shows last year, playing a rowdy set at San Francisco’s The Eagle, which was captured on a Tascam 388, a device equivalent to two 4-track cassette recorders smashed together. The sound is as live and raw as it gets, and it’s one of the best documents of a sweaty rock show since the MC5’s first LP.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161793\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg\" alt=\"Reissue of Aislers Set's first album, <i>Terrible Things Happen</i>\" width=\"400\" height=\"308\" class=\"size-thumbnail wp-image-10161793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Reissue of The Aislers Set’s first album, \u003ci>Terrible Things Happen\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Aislers Set – \u003ci>Terrible Things Happen\u003c/i> & \u003ci>The Last Match\u003c/i>\u003c/h3>\n\u003ch5>Slumberland\u003cbr>\n\u003ca href=\"http://www.slumberlandrecords.com/aislers-set\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>As I said in \u003ca href=\"http://ww2.kqed.org/arts/2014/09/27/the-aislers-set-return-to-san-francisco-after-leaving-too-soon/\" target=\"_blank\" rel=\"noopener\">my article about The Aislers Set\u003c/a> back when they reunited for a short tour to promote the reissues of their albums, these guys were criminally overlooked back in the day. But if that reunion show was any indication, it appears the masses are catching up.\u003c/p>\n\u003cp>Listening to the band’s first two albums, \u003ci>Terrible Things Happen\u003c/i> and \u003ci>The Last Match,\u003c/i> it’s pretty obvious why this group’s popularity has continued to grow. Each song is chock full of earworm melodies, but the tracks never sound anything but unique to the band’s main songwriter, AV Linton. Pick these up and see what all the fuss is about.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161913\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg\" alt=\"Cover of Life Stinks' <i>Portraits</i> 7" \" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Life Stinks’ \u003ci>Portraits\u003c/i> 7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks – \u003ci>Portraits\u003c/i> 7″\u003c/h3>\n\u003ch5>Total Punk\u003cbr>\n\u003ca href=\"http://floridasdying.com/products/life-stinks-portraits-7\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>It’s not a full album but just a single, and its packaging is far from innovative — a simple black & white picture sleeve featuring an indecipherable image — but the two songs on this platter are MUST HAVE. Life Stinks are San Francisco’s most misanthropic band and these two jams are perfect examples of their nihilism-laced, bare-bones punk rock. Their sound harks back to the roots-of-rock art damage of proto-punk bands like the aforementioned Crime and Cleveland’s Electric Eels. Life Stinks’ riffs and melodies are as catchy as the songs of their predecessors. Don’t agree? Listen to the b-side of this 45, “Sweep It Under The Rug,” after pounding a few beers and just try to keep yourself from singing along with a snotty sneer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161912\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg\" alt=\"Cover of Hobocop's self-titled 10"\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Hobocop’s \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/figcaption>\u003c/figure>\n\u003ch3>Hobocop – \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/h3>\n\u003ch5>Slovenly Recordings\u003cbr>\n\u003ca href=\"https://slovenly.bandcamp.com/album/hobocop-half-man-half-cop\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>Like many amazing groups that made their name in the underground music scene, Hobocop is a band that sadly didn’t have a proper release until after they broke up. I was lucky enough to catch these guys live once before they split ways a few years ago and to this day that performance stands as one of the best sets I’ve ever seen. Just a guitarist, organ player and a stand-up drummer (Cody Blanchard from Shannon & The Clams), these guys played high energy, blues-based garage rock, much in the vein of former Bay Area rockers Thee Oh Sees; and they could blow the roof off any joint. Buy this if you like good times and real rock ‘n’ roll.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161914\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg\" alt=\"Cover of The Residents' <i>Santa Dog</i> double 7" reissue on Superior Viaduct.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of The Residents’ \u003ci>Santa Dog\u003c/i> double 7″ reissue on Superior Viaduct.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Residents – \u003ci>Santa Dog\u003c/i> 2×7″\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/the-residents-santa-dog-2x7-inch\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is another important artifact from San Francisco’s strange musical history, from even before early punk bands like Crime were stinking up the streets. This double 7″ from 1972 is The Residents’ first musical offering and, according to lore, is what convinced them to become a band. The group’s naivete is on full display, but its catchy-quirkiness still sounds fresh several decades later.\u003c/p>\n\u003cp>Originally released in a small run — about 500 copies — and given to close friends of the band, local reissue label Superior Viaduct has re-created the original package as accurately as possible, so now you can purchase a copy without giving up \u003ca href=\"http://www.discogs.com/sell/release/101775?ev=rb\" target=\"_blank\" rel=\"noopener\">an arm and a leg\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cp>\u003ci>There must be a ton of records that I missed and I would love to know what they are. If you have your own suggestions, please list them in the comments below.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Feeling guilty for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area punk and indie bands.",
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"title": "Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need | KQED",
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"headline": "Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to draw a line in the sand. It’s time that we made it official and declare that you can’t be a real music fan if you don’t buy physical releases of music.\u003c/p>\n\u003cp>Sure, you might have a pretty awesome collection of tracks on your computer or smart phone, but to quote \u003ca href=\"http://www.soundopinions.org/show/177/#marcweinstein\" target=\"_blank\" rel=\"noopener\">Marc Weinstein\u003c/a>, co-founder of Amoeba Music, “Buying an mp3 is kind of like buying a postcard of a Picasso painting, as compared to buying a really fine print that looks like the original.” The equivalent of a fine print of the original in music is the physical release; it’s a copy of what the artist truly envisioned. And if you truly care about that musician’s art, you’ll buy it in the form that they intended and treat yourself to the full experience.\u003c/p>\n\u003cp>Feeling guilty now for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area bands and support them in their endeavors. Though the list skews toward local punk and indie bands, we feel that these groups are doing something you need to support.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161550\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg\" alt=\"Rubber latex cover for Musk's self-titled LP (photo by David Bessenhoffer)\" width=\"400\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic-400x369.jpg 400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rubber latex cover for Musk’s self-titled LP (photo by David Bessenhoffer)\u003c/figcaption>\u003c/figure>\n\u003ch3>Musk – s/t\u003c/h3>\n\u003ch5>Holy Mountain\u003cbr>\n\u003ca href=\"http://www.holymountain.com/artists/musk/\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is the inspiration for this very article. These noisy swamp rockers from Oakland have released an album that’s so trashy and rockin’ that it holds up its own against albums by Pussy Galore (and Jon Spencer’s other bands), early White Zombie and even former Bay Area buzzsaw songster Ty Segall.\u003c/p>\n\u003cp>But the big reason why music nerds should take note is the rubber latex “special cover,” each handmade by singer Rob “Vertigo” Fletcher. A play on the \u003cem>Necronomicon\u003c/em> as depicted in film series \u003cem>The Evil Dead,\u003c/em> the cover is a thick sleeve with teeth, pimples and a small face protruding from its flesh-like encasing. All of the covers that have been made (about 125) have had custom paint jobs, making each one a singular work of art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161552\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161552 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg\" alt=\"Crime's <i>Murder By Guitar</i>\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Crime’s \u003ci>Murder By Guitar\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Crime – \u003ci>Murder By Guitar\u003c/i>\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/crime-murder-by-guitar-lp\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is a piece of San Francisco history. Crime was one of the first punk bands to start up in San Francisco and like many of the groups from the first wave of punk, they were far from being proficient at their instruments but they had a great look. Scratch that, they had THE BEST look for a punk band: police uniforms.\u003c/p>\n\u003cp>Crime’s early singles were harsh bursts of primitive rock and roll that, to untrained ears, sound like the band couldn’t decide if they wanted to be avant garde or pop. Playing a concert at San Quentin State Prison and having Sonic Youth cover them in their heyday cemented Crime in the “underground legends” category, which meant their first records could fetch hundreds of dollars.\u003c/p>\n\u003cp>But that doesn’t matter any longer, because now for just $17, you can own all the hits and a bunch of unreleased tracks — including a single recorded by Huey Lewis (yes, THE Huey Lewis) — on one LP, complete with beautiful black & white photos of the group in perfect poses all around the Bay Area (the poster included is a great shot of the group on Alcatraz). If you are a fan of Crime, this is worth every penny.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg\" alt=\"Cold Beat's <i>Over Me</i> on LP\" width=\"400\" height=\"374\" class=\"size-thumbnail wp-image-10161671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s \u003ci>Over Me\u003c/i> on LP\u003c/figcaption>\u003c/figure>\n\u003ch3>Cold Beat – \u003ci>Over Me\u003c/i>\u003c/h3>\n\u003ch5>Crime on the Moon\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/over-me-by-cold-beat-cd#.VHRMLFfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This recommendation is purely about the music on this album. I saw them recently and it was like the Ramones were playing shoegaze — just one big burst of jangly guitars and ethereal vocals. It made me feel young again (though I am only 34), and I couldn’t help myself from jumping up and down a lot of their set. \u003c/p>\n\u003cp>This album has been a wonderful substitute for re-living that live experience, though the buzzsaw guitar, full-bore indie rock (heavy on the RAWK) is measured on this release. Instead of the feel of a sweaty live show, you get atmospheres of all kinds — goth, twee, punk, cold wave, new wave — you name it, though all of it anglophile. Like Big Star did with the Beatles, Hannah Lew and crew write their own songs but wear their many influences on their sleeves, and that, like with Big Star, that can be exactly what you want.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161790\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg\" alt=\"Cover of Icky Boyfriends' <i>Live In San Francisco</i>\" width=\"400\" height=\"400\" class=\"size-full wp-image-10161790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Icky Boyfriends’ \u003ci>Live In San Francisco\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Icky Boyfriends – \u003ci>Live in San Francisco\u003c/i>\u003c/h3>\n\u003ch5>Castle Face\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/live-in-san-francisco-by-icky-boyfriends-cd#.VHRYFlfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>These guys, the Icky Boyfriends, might be the least accessible band on this list, but that doesn’t mean they’re not the greatest thing on the planet. The Icky Boyfriends are the future of rock, after rock has been forgotten by the mainstream. Then when people try to imitate this lost primitive art, they’ll realize the best stuff has bitchin’ riffs, wild drums and an obnoxious singer. \u003c/p>\n\u003cp>Produced by Sacramento studio wizard Chris Woodhouse, this is a recording of the band, long defunct but reuniting for a few shows last year, playing a rowdy set at San Francisco’s The Eagle, which was captured on a Tascam 388, a device equivalent to two 4-track cassette recorders smashed together. The sound is as live and raw as it gets, and it’s one of the best documents of a sweaty rock show since the MC5’s first LP.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161793\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg\" alt=\"Reissue of Aislers Set's first album, <i>Terrible Things Happen</i>\" width=\"400\" height=\"308\" class=\"size-thumbnail wp-image-10161793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Reissue of The Aislers Set’s first album, \u003ci>Terrible Things Happen\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Aislers Set – \u003ci>Terrible Things Happen\u003c/i> & \u003ci>The Last Match\u003c/i>\u003c/h3>\n\u003ch5>Slumberland\u003cbr>\n\u003ca href=\"http://www.slumberlandrecords.com/aislers-set\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>As I said in \u003ca href=\"http://ww2.kqed.org/arts/2014/09/27/the-aislers-set-return-to-san-francisco-after-leaving-too-soon/\" target=\"_blank\" rel=\"noopener\">my article about The Aislers Set\u003c/a> back when they reunited for a short tour to promote the reissues of their albums, these guys were criminally overlooked back in the day. But if that reunion show was any indication, it appears the masses are catching up.\u003c/p>\n\u003cp>Listening to the band’s first two albums, \u003ci>Terrible Things Happen\u003c/i> and \u003ci>The Last Match,\u003c/i> it’s pretty obvious why this group’s popularity has continued to grow. Each song is chock full of earworm melodies, but the tracks never sound anything but unique to the band’s main songwriter, AV Linton. Pick these up and see what all the fuss is about.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161913\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg\" alt=\"Cover of Life Stinks' <i>Portraits</i> 7" \" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Life Stinks’ \u003ci>Portraits\u003c/i> 7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks – \u003ci>Portraits\u003c/i> 7″\u003c/h3>\n\u003ch5>Total Punk\u003cbr>\n\u003ca href=\"http://floridasdying.com/products/life-stinks-portraits-7\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>It’s not a full album but just a single, and its packaging is far from innovative — a simple black & white picture sleeve featuring an indecipherable image — but the two songs on this platter are MUST HAVE. Life Stinks are San Francisco’s most misanthropic band and these two jams are perfect examples of their nihilism-laced, bare-bones punk rock. Their sound harks back to the roots-of-rock art damage of proto-punk bands like the aforementioned Crime and Cleveland’s Electric Eels. Life Stinks’ riffs and melodies are as catchy as the songs of their predecessors. Don’t agree? Listen to the b-side of this 45, “Sweep It Under The Rug,” after pounding a few beers and just try to keep yourself from singing along with a snotty sneer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161912\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg\" alt=\"Cover of Hobocop's self-titled 10"\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Hobocop’s \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/figcaption>\u003c/figure>\n\u003ch3>Hobocop – \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/h3>\n\u003ch5>Slovenly Recordings\u003cbr>\n\u003ca href=\"https://slovenly.bandcamp.com/album/hobocop-half-man-half-cop\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>Like many amazing groups that made their name in the underground music scene, Hobocop is a band that sadly didn’t have a proper release until after they broke up. I was lucky enough to catch these guys live once before they split ways a few years ago and to this day that performance stands as one of the best sets I’ve ever seen. Just a guitarist, organ player and a stand-up drummer (Cody Blanchard from Shannon & The Clams), these guys played high energy, blues-based garage rock, much in the vein of former Bay Area rockers Thee Oh Sees; and they could blow the roof off any joint. Buy this if you like good times and real rock ‘n’ roll.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161914\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg\" alt=\"Cover of The Residents' <i>Santa Dog</i> double 7" reissue on Superior Viaduct.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of The Residents’ \u003ci>Santa Dog\u003c/i> double 7″ reissue on Superior Viaduct.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Residents – \u003ci>Santa Dog\u003c/i> 2×7″\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/the-residents-santa-dog-2x7-inch\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is another important artifact from San Francisco’s strange musical history, from even before early punk bands like Crime were stinking up the streets. This double 7″ from 1972 is The Residents’ first musical offering and, according to lore, is what convinced them to become a band. The group’s naivete is on full display, but its catchy-quirkiness still sounds fresh several decades later.\u003c/p>\n\u003cp>Originally released in a small run — about 500 copies — and given to close friends of the band, local reissue label Superior Viaduct has re-created the original package as accurately as possible, so now you can purchase a copy without giving up \u003ca href=\"http://www.discogs.com/sell/release/101775?ev=rb\" target=\"_blank\" rel=\"noopener\">an arm and a leg\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cp>\u003ci>There must be a ton of records that I missed and I would love to know what they are. If you have your own suggestions, please list them in the comments below.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Radio Show: Of Sugarplums and Sufganiyot",
"headTitle": "Radio Show: Of Sugarplums and Sufganiyot | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/11/20141128tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/alvvays.jpg\" alt=\"Alvvays\" width=\"600\" height=\"338\">Alvvays\u003c/h3>\n\u003cp>That’s no typo. Canadian indie pop band Alvvays—pronounced “always”—is among a recent trend of new bands who’ve resorted to using a double-V as a W (see also: \u003ca href=\"http://www.sfweekly.com/shookdown/2014/06/23/ovvns-b-l-o-vv-n-video-manginas-bloody-gums-and-horse-heads-nsfw\" target=\"_blank\" rel=\"noopener\">Ovvn\u003c/a>, \u003ca href=\"http://ovvls.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ovvls\u003c/a>). But the music of Alvvays is decidedly timeless, with jangly guitars, melodic choruses and lovelorn lyrics. Frontwoman Molly Rankin’s voice, deceptively simple, carries a type of confident yearning native to the genre; think a more riff-laden version of Best Coast or Teenage Fanclub, and you’re ready for an exciting new band. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alvvays/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/emerald-tablet.jpg\" alt=\"Quiet Lightning\" width=\"600\" height=\"338\">Quiet Lightning’s Fifth Anniversary\u003c/h3>\n\u003cp>Quiet Lightning’s monthly readings are unlike any other in the Bay Area—instead of pre-screening individual submissions, organizer Evan Karp assigns a broad theme. The result is not only a series of surprises, but what Karp, an all-around lit impresario who’s also \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=46596\" target=\"_blank\" rel=\"noopener\">contributed to KQED\u003c/a>, dubs a “literary mixtape.” To celebrate five years of such events, Quiet Lightning hosts a full gallery exhibit and literary mixtape reading featuring 11 writers, with free copies of its \u003cem>sparkle & blink\u003c/em> zine to the first 100 attendees. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/quiet-lightning-5th-anniversary-2/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/denk.jpg\" alt=\"Jeremy Denk\" width=\"600\" height=\"338\">San Francisco Symphony: Brahms and Bartók\u003c/h3>\n\u003cp>With his wedding earlier this month to longtime partner Joshua Mark Robison, conductor Michael Tilson Thomas has plenty reason to be joyful. So it’s fitting that this weekend, the San Francisco Symphony performs Brahms’ Symphony No. 2, a famously jubilant work composed in a burst of happiness. Thomas won’t be at the podium, however: that duty falls to Susanna Mälkki, a Finnish conductor, who also oversees pianist Jeremy Denk (pictured) in a performance of Bartók’s Piano Concerto No. 3. Kicking off the program is the short piece \u003cem>The White Peacock\u003c/em> by the turn-of-the-century composer Charles Tomlinson Griffes, who in times very different from now was compelled to protectively hide his relationship with another man. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-symphony-brahms-and-bartok/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/starcatcher.jpg\" alt=\"Peter and the Starcatcher\" width=\"600\" height=\"338\">Peter and the Starcatcher\u003c/h3>\n\u003cp>From \u003cem>The Phantom Menace\u003c/em> to \u003cem>Wicked\u003c/em>, the showbusiness world has been rife with prequels in the past decade. Into this mix comes Peter and the Starcatcher, a Tony-winning play that gives the backstory on everyone’s favorite pillar of eternal childhood, Peter Pan. The story of the orphaned child (simply called “Boy”), an influential heroine, and the quest to save treasure chests from the hands of evil in Neverland is augmented by spontaneous song and adventurous scenarios. Directed at TheatreWorks Silicon Valley this December by Robert Kelley, it’s a perfect holiday show for \u003cem>Nutcracker\u003c/em>-beleagured parents and their children. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/peter-and-the-starcatcher/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kinsey.jpg\" alt=\"Kinsey Sicks\" width=\"600\" height=\"338\">Oy Vey in a Manger\u003c/h3>\n\u003cp>The Kinsey Sicks are our very own “dragapella” group, and their subversive holiday shows never fail to disappoint. This year’s, \u003cem>Oy Vey in A Manger\u003c/em>, features toe-tapping numbers such as “‘Tis the Season to Drink Stoli,” “Harried Little Christmas,” “God Bless Ye Femmy Lesbians” and more to help drown out the incessant cheer of the department store P.A. and the dentist’s office. This year’s show also marks the bittersweet retirement from the group of Irwin Keller, the real-life rabbi of Congregation Ner Shalom who leaves as the Kinsey Sicks’ beloved, horn-rimmed Winnie. And though their makeup and hair may be over-the-top, this ain’t no cheap drag show—the group’s voices are as glorious as angels on high. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oy-vey-in-a-manger/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Truce-e1416855402168.jpg\" alt=\"Truce\" width=\"600\" height=\"338\">Truce: A Christmas Wish from the Great War\u003c/h3>\n\u003cp>The year was 1914; the setting was the battlefield in France; and the time was Christmas. And for one night, World War I soldiers on both sides of the conflict agreed to put down their weapons and celebrate the holiday together. One hundred years later, San Jose playwrights Kit Wilder and Jeffrey Bracco have brought this historic event to the stage in \u003cem>Truce\u003c/em>, which sees its world premiere this month. Based on real-life letters from soldiers and augmented by carols and music, the script balances the horrors of war with individual characters’ personal stories and serves as a reminder of not just a rare moment in history, but of the true holiday spirit. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/truce-a-christmas-wish-from-the-great-war/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Cantus.CurtisJohnson.jpg\" alt=\"Cantus\" width=\"600\" height=\"338\">All is Calm\u003c/h3>\n\u003cp>It’s been seven years since Minneapolis vocal ensemble Cantus first debuted their holiday show \u003cem>All is Calm\u003c/em>, but this year’s 100th anniversary of the WWI Christmas truce of 1914 renders it especially poignant. According to accounts, when soldiers on both sides of the war laid down their arms and joined in peaceful celebration, they also sang carols, folk songs and popular tunes; the likeliest among them, including “Silent Night,” make up this program of storytelling and music. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/all-is-calm-the-christmas-truce-of-1914/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Cy Musiker and David Weigand preview this week's must-see shows from a Canadian pop band, a \"literary mixtape,\" a piano genius, a 'Peter Pan' prequel and some off-the-beaten-path holiday performances.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/alvvays.jpg\" alt=\"Alvvays\" width=\"600\" height=\"338\">Alvvays\u003c/h3>\n\u003cp>That’s no typo. Canadian indie pop band Alvvays—pronounced “always”—is among a recent trend of new bands who’ve resorted to using a double-V as a W (see also: \u003ca href=\"http://www.sfweekly.com/shookdown/2014/06/23/ovvns-b-l-o-vv-n-video-manginas-bloody-gums-and-horse-heads-nsfw\" target=\"_blank\" rel=\"noopener\">Ovvn\u003c/a>, \u003ca href=\"http://ovvls.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ovvls\u003c/a>). But the music of Alvvays is decidedly timeless, with jangly guitars, melodic choruses and lovelorn lyrics. Frontwoman Molly Rankin’s voice, deceptively simple, carries a type of confident yearning native to the genre; think a more riff-laden version of Best Coast or Teenage Fanclub, and you’re ready for an exciting new band. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alvvays/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/emerald-tablet.jpg\" alt=\"Quiet Lightning\" width=\"600\" height=\"338\">Quiet Lightning’s Fifth Anniversary\u003c/h3>\n\u003cp>Quiet Lightning’s monthly readings are unlike any other in the Bay Area—instead of pre-screening individual submissions, organizer Evan Karp assigns a broad theme. The result is not only a series of surprises, but what Karp, an all-around lit impresario who’s also \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=46596\" target=\"_blank\" rel=\"noopener\">contributed to KQED\u003c/a>, dubs a “literary mixtape.” To celebrate five years of such events, Quiet Lightning hosts a full gallery exhibit and literary mixtape reading featuring 11 writers, with free copies of its \u003cem>sparkle & blink\u003c/em> zine to the first 100 attendees. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/quiet-lightning-5th-anniversary-2/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/denk.jpg\" alt=\"Jeremy Denk\" width=\"600\" height=\"338\">San Francisco Symphony: Brahms and Bartók\u003c/h3>\n\u003cp>With his wedding earlier this month to longtime partner Joshua Mark Robison, conductor Michael Tilson Thomas has plenty reason to be joyful. So it’s fitting that this weekend, the San Francisco Symphony performs Brahms’ Symphony No. 2, a famously jubilant work composed in a burst of happiness. Thomas won’t be at the podium, however: that duty falls to Susanna Mälkki, a Finnish conductor, who also oversees pianist Jeremy Denk (pictured) in a performance of Bartók’s Piano Concerto No. 3. Kicking off the program is the short piece \u003cem>The White Peacock\u003c/em> by the turn-of-the-century composer Charles Tomlinson Griffes, who in times very different from now was compelled to protectively hide his relationship with another man. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-symphony-brahms-and-bartok/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/starcatcher.jpg\" alt=\"Peter and the Starcatcher\" width=\"600\" height=\"338\">Peter and the Starcatcher\u003c/h3>\n\u003cp>From \u003cem>The Phantom Menace\u003c/em> to \u003cem>Wicked\u003c/em>, the showbusiness world has been rife with prequels in the past decade. Into this mix comes Peter and the Starcatcher, a Tony-winning play that gives the backstory on everyone’s favorite pillar of eternal childhood, Peter Pan. The story of the orphaned child (simply called “Boy”), an influential heroine, and the quest to save treasure chests from the hands of evil in Neverland is augmented by spontaneous song and adventurous scenarios. Directed at TheatreWorks Silicon Valley this December by Robert Kelley, it’s a perfect holiday show for \u003cem>Nutcracker\u003c/em>-beleagured parents and their children. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/peter-and-the-starcatcher/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kinsey.jpg\" alt=\"Kinsey Sicks\" width=\"600\" height=\"338\">Oy Vey in a Manger\u003c/h3>\n\u003cp>The Kinsey Sicks are our very own “dragapella” group, and their subversive holiday shows never fail to disappoint. This year’s, \u003cem>Oy Vey in A Manger\u003c/em>, features toe-tapping numbers such as “‘Tis the Season to Drink Stoli,” “Harried Little Christmas,” “God Bless Ye Femmy Lesbians” and more to help drown out the incessant cheer of the department store P.A. and the dentist’s office. This year’s show also marks the bittersweet retirement from the group of Irwin Keller, the real-life rabbi of Congregation Ner Shalom who leaves as the Kinsey Sicks’ beloved, horn-rimmed Winnie. And though their makeup and hair may be over-the-top, this ain’t no cheap drag show—the group’s voices are as glorious as angels on high. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oy-vey-in-a-manger/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Truce-e1416855402168.jpg\" alt=\"Truce\" width=\"600\" height=\"338\">Truce: A Christmas Wish from the Great War\u003c/h3>\n\u003cp>The year was 1914; the setting was the battlefield in France; and the time was Christmas. And for one night, World War I soldiers on both sides of the conflict agreed to put down their weapons and celebrate the holiday together. One hundred years later, San Jose playwrights Kit Wilder and Jeffrey Bracco have brought this historic event to the stage in \u003cem>Truce\u003c/em>, which sees its world premiere this month. Based on real-life letters from soldiers and augmented by carols and music, the script balances the horrors of war with individual characters’ personal stories and serves as a reminder of not just a rare moment in history, but of the true holiday spirit. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/truce-a-christmas-wish-from-the-great-war/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10145649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Cantus.CurtisJohnson.jpg\" alt=\"Cantus\" width=\"600\" height=\"338\">All is Calm\u003c/h3>\n\u003cp>It’s been seven years since Minneapolis vocal ensemble Cantus first debuted their holiday show \u003cem>All is Calm\u003c/em>, but this year’s 100th anniversary of the WWI Christmas truce of 1914 renders it especially poignant. According to accounts, when soldiers on both sides of the war laid down their arms and joined in peaceful celebration, they also sang carols, folk songs and popular tunes; the likeliest among them, including “Silent Night,” make up this program of storytelling and music. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/all-is-calm-the-christmas-truce-of-1914/\" target=\"_blank\" rel=\"noopener\">Details and information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside>\n\u003ch4>Listen to the Noise Pop Podcast’s home for the holidays mix, including tunes by Midlake, Thanksgiving, Asgeir, Wilco, Yo La Tengo and more.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Going_Home_Podcast.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The trip home for Thanksgiving can be either bitter or sweet (or a little bit of both). This soundtrack should help you through TSA security lines or on the drive down the interstate. From Yo La Tengo to Bright Eyes to Ageir, this mix explores all the emotions that come with home during the holidays.\u003c/p>\n\u003cp>Enjoy the episode!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“While We Walk Home Tonight” – Thanksgiving, \u003ci>The Ghost and the Eyes with Trees in The Ground Outside the Window\u003c/i>\u003c/li>\n\u003cli>“Coming Home” – Leon Bridges, single\u003c/li>\n\u003cli>“Hometown Waltz” – Rufus Wainwright, \u003ci>Want Two\u003c/i>\u003c/li>\n\u003cli>“Devil Town” – Bright Eyes, \u003ci>The Late Great Daniel Johnston: Discovered Covered\u003c/i>\u003c/li>\n\u003cli>“Goin’Home” – Dan Auerbach, \u003ci>Keep it Hid\u003c/i>\u003c/li>\n\u003cli>“Going Home” – Asgeir, \u003ci>In The Silence\u003c/i>\u003c/li>\n\u003cli>“I Feel Like Going Home” – Yo La Tengo, \u003ci>I Am Not Afraid of You and I Will Beat Your Ass\u003c/i>\u003c/li>\n\u003cli>“Indian Summer” – Beat Happening, \u003ci>Jamboree\u003c/i>\u003c/li>\n\u003cli>“Via Chicago” – Wilco, \u003ci>Summerteeth\u003c/i>\u003c/li>\n\u003cli>“Head Home” – Midlake, \u003ci>The Trials of Van Occupanther\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Add These 10 Bay Area Music Gems to Your 'Best of' List for 2014",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands that may not have received the attention they deserved this year, including tunes by Blood Sister, Useless Eaters, Male Gaze, Odawas, Joyride!, and more. \u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Hidden_Gems_2014_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Another great year for releases from Bay Area bands is coming to a close, but some of the 2014’s most impressive releases may not have initially received the attention they deserved. Those sorts of oversights are understandable given the volume of new albums coming out year-round. This mixtape collects songs from San Francisco bands that you may not have caught earlier this year, but that you definitely should listen to before committing pen to paper on any “Best of” list. It’s a wide-ranging collection showing that Bay Area bands offered up exciting works in a variety of genres this year.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://joyride-sf.com/\" target=\"_blank\" rel=\"noopener\">Joyride!\u003c/a> – “Jump Start”\u003cbr>\nFrom \u003cem>Bodies of Water\u003c/em> (Salinas Records/Lauren Records)\u003cbr>\nSan Francisco’s Joyride! followed up last year’s terrific self-titled album with a new LP in September. The group has mastered the art of composing ultra-catchy noise-pop songs, performed with an upbeat punk rock enthusiasm and augmented with thoughtful, engaging lyrics.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BL00DSISTER\" target=\"_blank\" rel=\"noopener\">Blood Sister\u003c/a> – “Ghost Twin”\u003cbr>\nFrom \u003cem>Blood Sister\u003c/em> (Bloodmoss Records)\u003cbr>\nBlood Sister’s early songs — employing devastating noise and melodic heft to great effect — caught our attention last year, and the band’s first EP further hones that sonic attack. The group is led by Ezana Edwards, who relocated to SF after the dissolution of Brooklyn’s Night Manager, and recently solidified a four-person lineup that includes K. Dylan Edrich of The Mallard.\u003c/p>\n\u003cp>\u003ca href=\"http://troubleinmindrecs.com/bands/gregashley.html\" target=\"_blank\" rel=\"noopener\">Greg Ashley\u003c/a> – “Prisoner #1131267”\u003cbr>\nFrom \u003cem>Another Generation of Slaves\u003c/em> (Trouble in Mind Records)\u003cbr>\nGreg Ashley’s solo career is part of a lengthy and impressive resume, which also includes leading the acclaimed Gris Gris and recording and producing countless local bands at his Creamery studio. \u003cem>Another Generation of Slaves\u003c/em> is the latest collection of lyrical psych-folk from this Oakland singer-songwriter, and it’s another welcome addition to this cult artist’s discography.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/dylanshearerer\" target=\"_blank\" rel=\"noopener\">Dylan Shearer\u003c/a> – “Meadow Mines (Fort Polio)”\u003cbr>\nFrom \u003cem>garagearray\u003c/em> (Castle Face Records/Empty Cellar Records)\u003cbr>\nYou likely won’t find a more beautifully-sounding psych-pop album this year than \u003cem>garagearray\u003c/em>. Dylan Shearer’s latest was produced by Eric Bauer (of many great records by Ty Segall, Mikal Cronin and others), and finds him backed by members of Thee Oh Sees and Comets On Fire. In other words, a ton of talents involved, and they all come together wonderfully.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/The-Range-of-Light-Wilderness/129876447039086\" target=\"_blank\" rel=\"noopener\">The Range of Light Wilderness\u003c/a> – “Perfect { the first time }”\u003cbr>\nFrom \u003cem>The Range of Light Wilderness\u003c/em> (Gnome Life Records)\u003cbr>\nAfter a first listen, it probably won’t be a surprise to learn that the self-titled album from The Range of Light Wilderness was written and recorded in Big Sur. The songs have a mystical beauty to them, but they’re also undeniably catchy. Fans of bands on Woodsist should take note.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Useless-Eaters/185004331543196\" target=\"_blank\" rel=\"noopener\">Useless Eaters\u003c/a> – “Out In The Night”\u003cbr>\t\u003cbr>\nFrom \u003cem>Bleeding Moon \u003c/em>(Castle Face Records)\u003cbr>\nOkay, so frequent touring and a series of strong records mean that Useless Eaters isn’t exactly under-the-radar, but the band ought to be considered in the same orbit as the best of their garage punk peers. Seth Sutton moved from Memphis to San Francisco in 2013, and \u003cem>Bleeding Moon\u003c/em>, his fifth full-length, is a relentless, searing album.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/mt-st-mtn/male-gaze-cliffs-of-madness\" target=\"_blank\" rel=\"noopener\">Male Gaze\u003c/a> – “Cliffs Of Madness”\u003cbr>\t\u003cbr>\nFrom \u003cem>“Cliffs Of Madness” b/w “Think Twice”\u003c/em> 7″ (Mt.St.Mtn.)\u003cbr>\nThe band’s promised LP on Castle Face Records hasn’t arrived yet, but the A-side to Male Gaze’s debut seven-inch is a combustible mix of blown-out fuzz and surging pop. But what else could one expect from a group that includes members of high-quality bands Mayyors, Blasted Canyons and The Mall? This is a group to keep a close eye on, and we’re looking forward to that full-length.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Bronze/221163617907693\" target=\"_blank\" rel=\"noopener\">Bronze\u003c/a> – “Quality”\u003cbr>\t\u003cbr>\nFrom \u003cem>World Arena\u003c/em> (Not Not Fun)\u003cbr>\nThis SF trio released its first LP since 2011 earlier this year, another collection of songs that defy easy genre categorization. Despite the heavy use of electronics, there’s a very live rock and roll feel as well, with tunes equally suited to headphones and the dance floor.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thebilindabutchersmusic\" target=\"_blank\" rel=\"noopener\">The Bilinda Butchers\u003c/a> – “Heaven Holds a Place (ft. Harriet Brown)”\u003cbr>\nFrom \u003cem>Heaven \u003c/em>(Orchid Tapes)\u003cbr>\nWith \u003cem>Heaven\u003c/em>, their debut full-length, The Bilinda Butchers offered a gorgeous, accomplished electronic pop album this year. The record was conceived as a soundtrack to an imagined diary of a woman living in 19th-century Japan, and it’s an immaculately crafted exploration of love, death and the afterlife.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Odawas/222742947316\" target=\"_blank\" rel=\"noopener\">Odawas\u003c/a> – “Black Iron Awakening / The Empire Never Ended”\u003cbr>\nFrom \u003cem>Reflections of a Pink Laser\u003c/em> (Bookmaker Records)\u003cbr>\nLocal electronic rock duo Odawas’ long-awaited album comes five years after the group’s stellar \u003cem>The Blue Depths\u003c/em>. The group’s unique, powerful sound can be intimate or epic, and frequently nails both extremes within a single song; lyrically, the new LP is reportedly influenced by the later work of Philip K. Dick.\u003c/p>\n\n",
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"excerpt": "Listen to The Bay Bridged mix of bands that may not have received the attention they deserved this year, including tunes by Blood Sister, Useless Eaters, Male Gaze, Odawas, Joyride!, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands that may not have received the attention they deserved this year, including tunes by Blood Sister, Useless Eaters, Male Gaze, Odawas, Joyride!, and more. \u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Hidden_Gems_2014_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Another great year for releases from Bay Area bands is coming to a close, but some of the 2014’s most impressive releases may not have initially received the attention they deserved. Those sorts of oversights are understandable given the volume of new albums coming out year-round. This mixtape collects songs from San Francisco bands that you may not have caught earlier this year, but that you definitely should listen to before committing pen to paper on any “Best of” list. It’s a wide-ranging collection showing that Bay Area bands offered up exciting works in a variety of genres this year.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://joyride-sf.com/\" target=\"_blank\" rel=\"noopener\">Joyride!\u003c/a> – “Jump Start”\u003cbr>\nFrom \u003cem>Bodies of Water\u003c/em> (Salinas Records/Lauren Records)\u003cbr>\nSan Francisco’s Joyride! followed up last year’s terrific self-titled album with a new LP in September. The group has mastered the art of composing ultra-catchy noise-pop songs, performed with an upbeat punk rock enthusiasm and augmented with thoughtful, engaging lyrics.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BL00DSISTER\" target=\"_blank\" rel=\"noopener\">Blood Sister\u003c/a> – “Ghost Twin”\u003cbr>\nFrom \u003cem>Blood Sister\u003c/em> (Bloodmoss Records)\u003cbr>\nBlood Sister’s early songs — employing devastating noise and melodic heft to great effect — caught our attention last year, and the band’s first EP further hones that sonic attack. The group is led by Ezana Edwards, who relocated to SF after the dissolution of Brooklyn’s Night Manager, and recently solidified a four-person lineup that includes K. Dylan Edrich of The Mallard.\u003c/p>\n\u003cp>\u003ca href=\"http://troubleinmindrecs.com/bands/gregashley.html\" target=\"_blank\" rel=\"noopener\">Greg Ashley\u003c/a> – “Prisoner #1131267”\u003cbr>\nFrom \u003cem>Another Generation of Slaves\u003c/em> (Trouble in Mind Records)\u003cbr>\nGreg Ashley’s solo career is part of a lengthy and impressive resume, which also includes leading the acclaimed Gris Gris and recording and producing countless local bands at his Creamery studio. \u003cem>Another Generation of Slaves\u003c/em> is the latest collection of lyrical psych-folk from this Oakland singer-songwriter, and it’s another welcome addition to this cult artist’s discography.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/dylanshearerer\" target=\"_blank\" rel=\"noopener\">Dylan Shearer\u003c/a> – “Meadow Mines (Fort Polio)”\u003cbr>\nFrom \u003cem>garagearray\u003c/em> (Castle Face Records/Empty Cellar Records)\u003cbr>\nYou likely won’t find a more beautifully-sounding psych-pop album this year than \u003cem>garagearray\u003c/em>. Dylan Shearer’s latest was produced by Eric Bauer (of many great records by Ty Segall, Mikal Cronin and others), and finds him backed by members of Thee Oh Sees and Comets On Fire. In other words, a ton of talents involved, and they all come together wonderfully.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/The-Range-of-Light-Wilderness/129876447039086\" target=\"_blank\" rel=\"noopener\">The Range of Light Wilderness\u003c/a> – “Perfect { the first time }”\u003cbr>\nFrom \u003cem>The Range of Light Wilderness\u003c/em> (Gnome Life Records)\u003cbr>\nAfter a first listen, it probably won’t be a surprise to learn that the self-titled album from The Range of Light Wilderness was written and recorded in Big Sur. The songs have a mystical beauty to them, but they’re also undeniably catchy. Fans of bands on Woodsist should take note.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Useless-Eaters/185004331543196\" target=\"_blank\" rel=\"noopener\">Useless Eaters\u003c/a> – “Out In The Night”\u003cbr>\t\u003cbr>\nFrom \u003cem>Bleeding Moon \u003c/em>(Castle Face Records)\u003cbr>\nOkay, so frequent touring and a series of strong records mean that Useless Eaters isn’t exactly under-the-radar, but the band ought to be considered in the same orbit as the best of their garage punk peers. Seth Sutton moved from Memphis to San Francisco in 2013, and \u003cem>Bleeding Moon\u003c/em>, his fifth full-length, is a relentless, searing album.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/mt-st-mtn/male-gaze-cliffs-of-madness\" target=\"_blank\" rel=\"noopener\">Male Gaze\u003c/a> – “Cliffs Of Madness”\u003cbr>\t\u003cbr>\nFrom \u003cem>“Cliffs Of Madness” b/w “Think Twice”\u003c/em> 7″ (Mt.St.Mtn.)\u003cbr>\nThe band’s promised LP on Castle Face Records hasn’t arrived yet, but the A-side to Male Gaze’s debut seven-inch is a combustible mix of blown-out fuzz and surging pop. But what else could one expect from a group that includes members of high-quality bands Mayyors, Blasted Canyons and The Mall? This is a group to keep a close eye on, and we’re looking forward to that full-length.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Bronze/221163617907693\" target=\"_blank\" rel=\"noopener\">Bronze\u003c/a> – “Quality”\u003cbr>\t\u003cbr>\nFrom \u003cem>World Arena\u003c/em> (Not Not Fun)\u003cbr>\nThis SF trio released its first LP since 2011 earlier this year, another collection of songs that defy easy genre categorization. Despite the heavy use of electronics, there’s a very live rock and roll feel as well, with tunes equally suited to headphones and the dance floor.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thebilindabutchersmusic\" target=\"_blank\" rel=\"noopener\">The Bilinda Butchers\u003c/a> – “Heaven Holds a Place (ft. Harriet Brown)”\u003cbr>\nFrom \u003cem>Heaven \u003c/em>(Orchid Tapes)\u003cbr>\nWith \u003cem>Heaven\u003c/em>, their debut full-length, The Bilinda Butchers offered a gorgeous, accomplished electronic pop album this year. The record was conceived as a soundtrack to an imagined diary of a woman living in 19th-century Japan, and it’s an immaculately crafted exploration of love, death and the afterlife.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Odawas/222742947316\" target=\"_blank\" rel=\"noopener\">Odawas\u003c/a> – “Black Iron Awakening / The Empire Never Ended”\u003cbr>\nFrom \u003cem>Reflections of a Pink Laser\u003c/em> (Bookmaker Records)\u003cbr>\nLocal electronic rock duo Odawas’ long-awaited album comes five years after the group’s stellar \u003cem>The Blue Depths\u003c/em>. The group’s unique, powerful sound can be intimate or epic, and frequently nails both extremes within a single song; lyrically, the new LP is reportedly influenced by the later work of Philip K. Dick.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp>By now, you’ve probably seen \u003ca target=\"_self\" href=\"https://www.youtube.com/watch?v=CMCf5aVBQJA\" rel=\"noopener\">this viral video\u003c/a> of a guy dance-cleaning to the Sheena Easton song “Morning Train (9 to 5)” in his underwear, in the privacy of his home, when he thought no one was around. Sheena Easton’s song from 1980 isn’t exactly topping the \u003ca href=\"http://ww2.kqed.org/pop/secret-itunes-playlist-10-guilty-pleasure-songs-im-ashamed-to-love\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/pop/secret-itunes-playlist-10-guilty-pleasure-songs-im-ashamed-to-love\" target=\"_self\" title=\"Secret iTunes Playlist: 10 Songs I’m Ashamed to Love\" rel=\"noopener\">Pop Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cstrong>By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp>By now, you've probably seen \u003ca target=\"_self\" href=\"https://www.youtube.com/watch?v=CMCf5aVBQJA\" rel=\"noopener\">this viral video\u003c/a> of a guy dance-cleaning to the Sheena Easton song “Morning Train (9 to 5)” in his underwear, in the privacy of his home, when he thought no one was around. Sheena Easton's song from 1980 isn't exactly topping the \u003ca href=\"http://ww2.kqed.org/pop/secret-itunes-playlist-10-guilty-pleasure-songs-im-ashamed-to-love\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp>By now, you’ve probably seen \u003ca target=\"_self\" href=\"https://www.youtube.com/watch?v=CMCf5aVBQJA\" rel=\"noopener\">this viral video\u003c/a> of a guy dance-cleaning to the Sheena Easton song “Morning Train (9 to 5)” in his underwear, in the privacy of his home, when he thought no one was around. Sheena Easton’s song from 1980 isn’t exactly topping the \u003ca href=\"http://ww2.kqed.org/pop/secret-itunes-playlist-10-guilty-pleasure-songs-im-ashamed-to-love\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/pop/secret-itunes-playlist-10-guilty-pleasure-songs-im-ashamed-to-love\" target=\"_self\" title=\"Secret iTunes Playlist: 10 Songs I’m Ashamed to Love\" rel=\"noopener\">Pop Music\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing)",
"headTitle": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing) | 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/the-war-project-music-unplugged/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The War Project: Music UnPlugged\u003c/h4>\n\u003cdiv class=\"event-desc\">Recasting a festival for social justice\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 21st, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">St. Mark’s Lutheran Church\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over the course of almost two decades, the San Francisco World Music Festival has developed a reputation as a risk-taker. This year it’s making its biggest leap yet. Gone is the focus on concerts in music venues. Gone is the San Francisco-centric programming. And gone, even, is the word “festival.” Now called “SF World Music,” the organization has remade itself into a global entity that uses live-stream technology to work with singers and musicians in some of the world’s most neglected areas – while connecting these communities with resources that help them in the long term.\u003c/p>\n\u003cp>It’s music as bona fide activism that will play itself out over the next year with three war-themed events. \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">\u003cb>The War Project\u003c/b>\u003c/a> begins on Friday, November 21, at San Francisco’s \u003ca href=\"http://www.stmarks-sf.org/\" target=\"_blank\" rel=\"noopener\">St. Mark’s Lutheran Church\u003c/a> with a concert featuring musicians with roots in China, Iran, Azerbaijan, South India, Zimbabwe, and Ireland. Their songs will explore the way music can be used for cross-purposes in war – to propagandize causes, to protest injustice, and to offer solace to those under severe stress.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10145756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg\" alt=\"SF World Music 2\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-400x222.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>On April 17-19, \u003cstrong>The War Project\u003c/strong> will set up at Fort Mason’s \u003ca href=\"http://www.fortmason.org/venuerental/herbst-pavilion?id=1\" target=\"_blank\" rel=\"noopener\">Herbst Pavilion\u003c/a>, where musicians will perform in different tents – in collaboration with live-streamed musicians in other countries – to mirror the refugee conditions that millions face around the world.\u003c/p>\n\u003cp>And then in the autumn of 2015, at a date to be announced, from regions yet to be determined – it might include Pakistan, the Palestinian territories, and India – musicians from refugee camps will perform a benefit concert that reaches audiences in San Francisco — and anyone else — watching online. With its mix of live performance, live-streaming and integrated video footage, \u003cstrong>The War Project\u003c/strong> will let audiences experience the cultures they see in ways that diverge dramatically from traditional concerts, including those of previous performances by SF World Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t want to be a festival; we don’t want to be a concert,” says SF World Music founder and executive producer Michael Santoro. “This is a social justice shift. We feel an obligation out of all the years we’ve been doing this.”\u003c/p>\n\u003cp>The shift has been gradual. In previous years, SF World Music has done video collaborations across time zones. And in previous years, it has worked with children’s groups around the world. But in this new phase of the organization’s life, the collaborations and the activist work are taking a more central role – and it’s coinciding with a much greater emphasis on technological advances. Next April, staff will employ multiple hand-held cameras to film musicians during the concerts. As online concert-goers watch the performances at \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">SF World Music’s website\u003c/a> and see, say, a musician from Zimbabwe, the live-stream visual feed will cut to a recorded interview with the musician, then cut to footage of Zimbabwe – as the concert still steams live on the audio feed. To deepen the experience for online viewers, the festival will attach small cameras to the musicians’ instruments, providing a unique view of the performances. The possibilities for deepening the audience experience are endless, Santoro says.\u003c/p>\n\u003cfigure id=\"attachment_10145757\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\" alt=\"SF World Music's Youth Orchestra\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145757\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF World Music’s Youth Orchestra \u003ccite>(By Jim Block, courtesy of SF World Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santoro and SF World Music are still figuring out some logistics for \u003cstrong>The War Project\u003c/strong>. In other words, it’s a work-in-progress partly, Santoro says, because nothing of this scale has really been tried before. “There’s no model that integrates all of this together in one space,” he says. “What we’ve been doing these years is putting parts of the pieces in place, experimenting in a festival format. Now, audiences and performers in the physical and virtual worlds can interact like never before.”\u003c/p>\n\u003cp>Among the performers at the November 21 concert: SF World Music’s youth orchestra; South Indian \u003ca href=\"http://en.wikipedia.org/wiki/Carnatic_music\" target=\"_blank\" rel=\"noopener\">Carnatic music \u003c/a>master \u003ca href=\"http://www.anuradhasridhar.com/\" target=\"_blank\" rel=\"noopener\">Anuradha Sridhar\u003c/a>; Azeri \u003ca href=\"http://en.wikipedia.org/wiki/Kamancheh\" target=\"_blank\" rel=\"noopener\">\u003cem>kamancha\u003c/em>\u003c/a> master, \u003ca href=\"http://www.kamancha.com/\" target=\"_blank\" rel=\"noopener\">Imamyar Hasanov\u003c/a>; Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">\u003cem>erhu\u003c/em>\u003c/a> master, \u003ca href=\"http://www.jumpingbuddha.com/musicians/zhang.html\" target=\"_blank\" rel=\"noopener\">Zhang Xiaofeng\u003c/a>; Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mridangam\" target=\"_blank\" rel=\"noopener\">\u003cem>mridangam \u003c/em>\u003c/a>master, \u003ca href=\"http://www.anuradhasridhar.com/shrirambrahmanandam.shtml\" target=\"_blank\" rel=\"noopener\">Shriram Brahmanandam\u003c/a>; Chinese percussion master, \u003ca href=\"http://www.guzheng.org/Text/wei_wang.html\" target=\"_blank\" rel=\"noopener\">Wang Wei\u003c/a>; Iranian percussion master, \u003ca href=\"http://www.pezhham.com/\" target=\"_blank\" rel=\"noopener\">Pezhham Akhavass\u003c/a>; Vietnamese \u003ca href=\"http://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">\u003cem>dan tranh\u003c/em>\u003c/a> master, \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Van-Anh Vanessa Vo\u003c/a>; Irish Celtic harp master, \u003ca href=\"http://www.dianarowan.com/\" target=\"_blank\" rel=\"noopener\">Diana Rowan\u003c/a>; and Zimbabwean percussion master, \u003ca href=\"http://ronniedaliyo.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Ronnie Daliyo\u003c/a>.\u003c/p>\n\u003cp>Last year, Hasanov traveled with Santoro and other SF World Music personnel to China, where they worked with children attending a school for migrants on the outskirts of Beijing. These children are considered “illegal immigrants.” Even their school is considered “illegal.” Santoro, who plays the Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Xiao_%28flute%29\" target=\"_blank\" rel=\"noopener\">\u003cem>dong xiao\u003c/em>\u003c/a> (vertical bamboo flute), Hasanov (who grew up in Azerbaijan, but now lives in the Bay Area), and the other music staff taught both students and teachers at the school. Then they performed with a well-known migrant band at an evening concert in the community, which was live-streamed to other migrant communities in China.\u003c/p>\n\u003cp>Besides the concert, SF World Music gave the community unique software that lets students – regardless of their language – learn traditional music from around the world through a step-by-step method that emphasizes video instruction. SF World Music also gave the community unique hardware that lets them share seamless live-stream music with distant communities.\u003c/p>\n\u003cp>“It was,” says Santoro, “the most significant thing I’ve done in my entire life. That community has an opportunity to have access to the world in a way they never could because of politics, the economy, education, lack of access to global resources. We got as much out of it as performers as did the immigrant community.”\u003c/p>\n\u003cp>When a similar SF World Music team travels next year to refugee camps, they will bring the same software and hardware, and teach the communities how to use it. “We’ll begin to wire these places,” Santoro says. “We’ll bring interactive tools. So that it’s not a ‘one-off.’”\u003c/p>\n\u003cp>This sort of outreach will also be applied locally enabling SF World Music staff to connect – via live-streaming – music students from under-funded Bay Area schools with students from wealthier schools. With the video technology that SF World Music is perfecting through \u003cstrong>The War Project\u003c/strong>, they can develop collaborations between students around the Bay Area. What’s local is global. What’s global is local. That’s what SF World Music has always been about. That’s what it continues to represent, even as its vision has morphed into something much, much bigger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The first part of \u003cstrong>The War Project\u003c/strong>, \u003ci>Music UnPlugged\u003c/i> is Friday, November 21, 2014, 8pm, at St. Mark’s Lutheran Church in San Francisco. Tickets are $15-$25. For \u003ca href=\"http://www.sfworldmusic.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfworldmusic.org.\u003c/p>\n\n",
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"title": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing) | KQED",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The War Project: Music UnPlugged\u003c/h4>\n\u003cdiv class=\"event-desc\">Recasting a festival for social justice\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 21st, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">St. Mark’s Lutheran Church\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over the course of almost two decades, the San Francisco World Music Festival has developed a reputation as a risk-taker. This year it’s making its biggest leap yet. Gone is the focus on concerts in music venues. Gone is the San Francisco-centric programming. And gone, even, is the word “festival.” Now called “SF World Music,” the organization has remade itself into a global entity that uses live-stream technology to work with singers and musicians in some of the world’s most neglected areas – while connecting these communities with resources that help them in the long term.\u003c/p>\n\u003cp>It’s music as bona fide activism that will play itself out over the next year with three war-themed events. \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">\u003cb>The War Project\u003c/b>\u003c/a> begins on Friday, November 21, at San Francisco’s \u003ca href=\"http://www.stmarks-sf.org/\" target=\"_blank\" rel=\"noopener\">St. Mark’s Lutheran Church\u003c/a> with a concert featuring musicians with roots in China, Iran, Azerbaijan, South India, Zimbabwe, and Ireland. Their songs will explore the way music can be used for cross-purposes in war – to propagandize causes, to protest injustice, and to offer solace to those under severe stress.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10145756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg\" alt=\"SF World Music 2\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-400x222.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>On April 17-19, \u003cstrong>The War Project\u003c/strong> will set up at Fort Mason’s \u003ca href=\"http://www.fortmason.org/venuerental/herbst-pavilion?id=1\" target=\"_blank\" rel=\"noopener\">Herbst Pavilion\u003c/a>, where musicians will perform in different tents – in collaboration with live-streamed musicians in other countries – to mirror the refugee conditions that millions face around the world.\u003c/p>\n\u003cp>And then in the autumn of 2015, at a date to be announced, from regions yet to be determined – it might include Pakistan, the Palestinian territories, and India – musicians from refugee camps will perform a benefit concert that reaches audiences in San Francisco — and anyone else — watching online. With its mix of live performance, live-streaming and integrated video footage, \u003cstrong>The War Project\u003c/strong> will let audiences experience the cultures they see in ways that diverge dramatically from traditional concerts, including those of previous performances by SF World Music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t want to be a festival; we don’t want to be a concert,” says SF World Music founder and executive producer Michael Santoro. “This is a social justice shift. We feel an obligation out of all the years we’ve been doing this.”\u003c/p>\n\u003cp>The shift has been gradual. In previous years, SF World Music has done video collaborations across time zones. And in previous years, it has worked with children’s groups around the world. But in this new phase of the organization’s life, the collaborations and the activist work are taking a more central role – and it’s coinciding with a much greater emphasis on technological advances. Next April, staff will employ multiple hand-held cameras to film musicians during the concerts. As online concert-goers watch the performances at \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">SF World Music’s website\u003c/a> and see, say, a musician from Zimbabwe, the live-stream visual feed will cut to a recorded interview with the musician, then cut to footage of Zimbabwe – as the concert still steams live on the audio feed. To deepen the experience for online viewers, the festival will attach small cameras to the musicians’ instruments, providing a unique view of the performances. The possibilities for deepening the audience experience are endless, Santoro says.\u003c/p>\n\u003cfigure id=\"attachment_10145757\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\" alt=\"SF World Music's Youth Orchestra\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145757\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF World Music’s Youth Orchestra \u003ccite>(By Jim Block, courtesy of SF World Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santoro and SF World Music are still figuring out some logistics for \u003cstrong>The War Project\u003c/strong>. In other words, it’s a work-in-progress partly, Santoro says, because nothing of this scale has really been tried before. “There’s no model that integrates all of this together in one space,” he says. “What we’ve been doing these years is putting parts of the pieces in place, experimenting in a festival format. Now, audiences and performers in the physical and virtual worlds can interact like never before.”\u003c/p>\n\u003cp>Among the performers at the November 21 concert: SF World Music’s youth orchestra; South Indian \u003ca href=\"http://en.wikipedia.org/wiki/Carnatic_music\" target=\"_blank\" rel=\"noopener\">Carnatic music \u003c/a>master \u003ca href=\"http://www.anuradhasridhar.com/\" target=\"_blank\" rel=\"noopener\">Anuradha Sridhar\u003c/a>; Azeri \u003ca href=\"http://en.wikipedia.org/wiki/Kamancheh\" target=\"_blank\" rel=\"noopener\">\u003cem>kamancha\u003c/em>\u003c/a> master, \u003ca href=\"http://www.kamancha.com/\" target=\"_blank\" rel=\"noopener\">Imamyar Hasanov\u003c/a>; Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">\u003cem>erhu\u003c/em>\u003c/a> master, \u003ca href=\"http://www.jumpingbuddha.com/musicians/zhang.html\" target=\"_blank\" rel=\"noopener\">Zhang Xiaofeng\u003c/a>; Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mridangam\" target=\"_blank\" rel=\"noopener\">\u003cem>mridangam \u003c/em>\u003c/a>master, \u003ca href=\"http://www.anuradhasridhar.com/shrirambrahmanandam.shtml\" target=\"_blank\" rel=\"noopener\">Shriram Brahmanandam\u003c/a>; Chinese percussion master, \u003ca href=\"http://www.guzheng.org/Text/wei_wang.html\" target=\"_blank\" rel=\"noopener\">Wang Wei\u003c/a>; Iranian percussion master, \u003ca href=\"http://www.pezhham.com/\" target=\"_blank\" rel=\"noopener\">Pezhham Akhavass\u003c/a>; Vietnamese \u003ca href=\"http://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">\u003cem>dan tranh\u003c/em>\u003c/a> master, \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Van-Anh Vanessa Vo\u003c/a>; Irish Celtic harp master, \u003ca href=\"http://www.dianarowan.com/\" target=\"_blank\" rel=\"noopener\">Diana Rowan\u003c/a>; and Zimbabwean percussion master, \u003ca href=\"http://ronniedaliyo.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Ronnie Daliyo\u003c/a>.\u003c/p>\n\u003cp>Last year, Hasanov traveled with Santoro and other SF World Music personnel to China, where they worked with children attending a school for migrants on the outskirts of Beijing. These children are considered “illegal immigrants.” Even their school is considered “illegal.” Santoro, who plays the Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Xiao_%28flute%29\" target=\"_blank\" rel=\"noopener\">\u003cem>dong xiao\u003c/em>\u003c/a> (vertical bamboo flute), Hasanov (who grew up in Azerbaijan, but now lives in the Bay Area), and the other music staff taught both students and teachers at the school. Then they performed with a well-known migrant band at an evening concert in the community, which was live-streamed to other migrant communities in China.\u003c/p>\n\u003cp>Besides the concert, SF World Music gave the community unique software that lets students – regardless of their language – learn traditional music from around the world through a step-by-step method that emphasizes video instruction. SF World Music also gave the community unique hardware that lets them share seamless live-stream music with distant communities.\u003c/p>\n\u003cp>“It was,” says Santoro, “the most significant thing I’ve done in my entire life. That community has an opportunity to have access to the world in a way they never could because of politics, the economy, education, lack of access to global resources. We got as much out of it as performers as did the immigrant community.”\u003c/p>\n\u003cp>When a similar SF World Music team travels next year to refugee camps, they will bring the same software and hardware, and teach the communities how to use it. “We’ll begin to wire these places,” Santoro says. “We’ll bring interactive tools. So that it’s not a ‘one-off.’”\u003c/p>\n\u003cp>This sort of outreach will also be applied locally enabling SF World Music staff to connect – via live-streaming – music students from under-funded Bay Area schools with students from wealthier schools. With the video technology that SF World Music is perfecting through \u003cstrong>The War Project\u003c/strong>, they can develop collaborations between students around the Bay Area. What’s local is global. What’s global is local. That’s what SF World Music has always been about. That’s what it continues to represent, even as its vision has morphed into something much, much bigger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first part of \u003cstrong>The War Project\u003c/strong>, \u003ci>Music UnPlugged\u003c/i> is Friday, November 21, 2014, 8pm, at St. Mark’s Lutheran Church in San Francisco. Tickets are $15-$25. For \u003ca href=\"http://www.sfworldmusic.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfworldmusic.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Walk Through Deerhoof's 20 Oddball Years",
"headTitle": "A Walk Through Deerhoof’s 20 Oddball Years | 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/deerhoof/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Deerhoof\u003c/h4>\n\u003cdiv class=\"event-desc\">Everyone’s favorite former local indie band.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 18, 8pm\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/deerhoof/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>One way you can note a band for their enduring quality is by their endless arsenal of ideas. For 20 years Deerhoof have released a delightful stream of unorthodox albums that throw notions of genre into disarray and, so far, they have yet to repeat themselves. Throughout their career they’ve toured with high-caliber artists such as Radiohead, Wilco, The Flaming Lips and Sonic Youth.\u003c/p>\n\u003cp>http://youtu.be/mJLLW8Ye7tI\u003c/p>\n\u003cp>Now, this Bay Area-born band is set to play the Great American Music Hall on November 18 in support of their latest effort \u003cem>La Isla Bonita\u003c/em> and fans may rejoice to their triumphant return.\u003c/p>\n\u003cp>In an attempt to characterize their bizarre sound for those unfamiliar with them, one could describe Deerhoof as a whimsical storm of sugar and spikes. Half the time they will blast you away with their erratic volume and pace, while the other half is spent reeling you in with saccharine melodies.\u003c/p>\n\u003cfigure id=\"attachment_10145489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\" alt=\"Satomi Matsuzaki featured above, photo courtesy of band's Facebook page.\" width=\"640\" height=\"530\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Satomi Matsuzaki; Photo from the band’s Facebook page.\u003c/figcaption>\u003c/figure>\n\u003cp>They manage this through a quirky combo of Satomi Matsuzaki’s cheekily high-pitched vocals with restless high-energy rock compositions. Most of their songs are under three minutes, but that doesn’t mean they aren’t full to the brim with delectable hooks and varying dynamics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout their catalog, Deerhoof have put out fine examples of clamorous rock and joyous pop, all the while refusing to stay still in one pool without jumping to the next. They don’t sound like a typical punk band but certainly carry its unabashed spirit for doing \u003cem>whatever they want\u003c/em>.\u003c/p>\n\u003cp>http://youtu.be/41qWrl5GUwg\u003c/p>\n\u003cp>Deerhoof’s lengthy discography is worth checking out, but to make things easier, here is a brief survey through some of their high points.\u003c/p>\n\u003cp>Deerhoof’s 1997 debut LP \u003ca title=\"<i>The Man, The King, The Girl</i>\" href=\"https://killrockstars.bandcamp.com/album/the-man-the-king-the-girl\">\u003cem>The Man, The King, The Girl\u003c/em>\u003c/a> is by no means accessible or their greatest, but for a fan it’s worth checking out to acknowledge their unruly roots. The album hints at all the elements that would make the band notable in the future, including their jumpiness with volume, speed, and off-kilter pop melodies.\u003c/p>\n\u003cp>2002’s \u003ca title=\"<i>Reveille</i>\" href=\"http://deerhoof.bandcamp.com/album/reveille\">\u003cem>Reveille\u003c/em>\u003c/a> is where they first entered the forefront as an unquestionably maniacal, yet tuneful band with an endearing sort of chaos that you can tap your foot to. The album’s mythical opening lyrics “The trumpet scatters its awful sound / Over the graves of all lands / Summoning all before the throne / death and mankind shall be stunned” certainly set the tone.\u003c/p>\n\u003cfigure id=\"attachment_10145496\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\" alt=\"Album cover for The Runners Four\" width=\"600\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for The Runners Four\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to digest upon first listen, yet anyone with a love of The Beatles’ more experimental excursions and a high tolerance for noise can find it appealing. Subsequent albums \u003cem>Apple O’\u003c/em> and \u003cem>Milk Man\u003c/em> are equally erratic, but toned down to more accessible degrees.\u003c/p>\n\u003cp>\u003ca href=\"http://killrockstars.merchtable.com/music/cds-and-dvds/deerhoof-the-runners-four-cd#.VGHE-YeQtFq\">\u003cem>The Runners Four\u003c/em>\u003c/a>, released in 2005, is unique for being significantly more minimal, lyrical, and subdued than anything Deerhoof had released previously. Unique in their discography, each band member takes turns with vocals and some instrumental roles are reversed. Tracks “Odyssey,” “\u003ca href=\"http://youtu.be/8qGr6vkSEwQ\" target=\"_blank\" rel=\"noopener\">You Can See\u003c/a>” and “Siriustar” are highlights.\u003c/p>\n\u003cp>http://youtu.be/r7etn2czISU\u003c/p>\n\u003cp>2007’s \u003ca title=\"<i>Friend Opportunity</i>\" href=\"http://deerhoof.bandcamp.com/album/friend-opportunity\">\u003cem>Friend Opportunity\u003c/em>\u003c/a> is Deerhoof at their peak. The album features diverse instrumentation, including trumpets and keyboards. The compositions are controlled and dutifully organized. “Whither the Invisible Birds?” is a soft and cinematic rhapsody. \u003ca href=\"https://www.youtube.com/watch?v=V_Pesk9Frkg\">“Matchbook Seeks Maniac”\u003c/a> plays a triumphant chorus that takes the album to lofty heights.\u003c/p>\n\u003cp>http://youtu.be/XBcy-zOq_QM\u003c/p>\n\u003cp>Although \u003cem>Friend Opportunity\u003c/em> was arguably Deerhoof’s champion statement, their releases following it have a similar maturity of style. \u003cem>Offend Maggie\u003c/em>, \u003cem>Deerhoof vs. Evil\u003c/em> and the danceable tunes of \u003ca href=\"http://deerhoof.bandcamp.com/album/breakup-song\">\u003cem>Breakup Songs\u003c/em>\u003c/a> all offer different perspectives to enjoy this band’s eclectic sound.\u003c/p>\n\u003cfigure id=\"attachment_10145483\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\" alt=\"Album cover for La Isla Bonita, released November 4th on Polyvinyl Records.\" width=\"640\" height=\"640\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for La Isla Bonita, released November 4, 2014 on Polyvinyl Records.\u003c/figcaption>\u003c/figure>\n\u003cp>Their latest LP \u003cem>La Isla Bonita\u003c/em>, released November 4, is a walk away from the synth-charged direction of \u003cem>Breakup Songs\u003c/em> and a return to their more raucous leanings.\u003c/p>\n\u003cp>The band scattered a few years back, relocating to four different cities and continuing their collaboration long distance. Catch Deerhoof when it returns to native soil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deerhoof plays November 18, 2014 at The Great American Music Hall in San Francisco. For \u003ca href=\"http://www.slimspresents.com/events/2014-11-18/deerhoof-2/\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n",
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"excerpt": "Bay Area-born band Deerhoof returns to San Francisco for a show at the Great American Music Hall November 18 in support of \u003ci>La Isla Bonita\u003c/i>, their latest album.",
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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/deerhoof/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Deerhoof\u003c/h4>\n\u003cdiv class=\"event-desc\">Everyone’s favorite former local indie band.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 18, 8pm\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/deerhoof/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>One way you can note a band for their enduring quality is by their endless arsenal of ideas. For 20 years Deerhoof have released a delightful stream of unorthodox albums that throw notions of genre into disarray and, so far, they have yet to repeat themselves. Throughout their career they’ve toured with high-caliber artists such as Radiohead, Wilco, The Flaming Lips and Sonic Youth.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mJLLW8Ye7tI'\n title='//www.youtube.com/embed/mJLLW8Ye7tI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, this Bay Area-born band is set to play the Great American Music Hall on November 18 in support of their latest effort \u003cem>La Isla Bonita\u003c/em> and fans may rejoice to their triumphant return.\u003c/p>\n\u003cp>In an attempt to characterize their bizarre sound for those unfamiliar with them, one could describe Deerhoof as a whimsical storm of sugar and spikes. Half the time they will blast you away with their erratic volume and pace, while the other half is spent reeling you in with saccharine melodies.\u003c/p>\n\u003cfigure id=\"attachment_10145489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\" alt=\"Satomi Matsuzaki featured above, photo courtesy of band's Facebook page.\" width=\"640\" height=\"530\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Satomi Matsuzaki; Photo from the band’s Facebook page.\u003c/figcaption>\u003c/figure>\n\u003cp>They manage this through a quirky combo of Satomi Matsuzaki’s cheekily high-pitched vocals with restless high-energy rock compositions. Most of their songs are under three minutes, but that doesn’t mean they aren’t full to the brim with delectable hooks and varying dynamics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout their catalog, Deerhoof have put out fine examples of clamorous rock and joyous pop, all the while refusing to stay still in one pool without jumping to the next. They don’t sound like a typical punk band but certainly carry its unabashed spirit for doing \u003cem>whatever they want\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/41qWrl5GUwg'\n title='//www.youtube.com/embed/41qWrl5GUwg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Deerhoof’s lengthy discography is worth checking out, but to make things easier, here is a brief survey through some of their high points.\u003c/p>\n\u003cp>Deerhoof’s 1997 debut LP \u003ca title=\"<i>The Man, The King, The Girl</i>\" href=\"https://killrockstars.bandcamp.com/album/the-man-the-king-the-girl\">\u003cem>The Man, The King, The Girl\u003c/em>\u003c/a> is by no means accessible or their greatest, but for a fan it’s worth checking out to acknowledge their unruly roots. The album hints at all the elements that would make the band notable in the future, including their jumpiness with volume, speed, and off-kilter pop melodies.\u003c/p>\n\u003cp>2002’s \u003ca title=\"<i>Reveille</i>\" href=\"http://deerhoof.bandcamp.com/album/reveille\">\u003cem>Reveille\u003c/em>\u003c/a> is where they first entered the forefront as an unquestionably maniacal, yet tuneful band with an endearing sort of chaos that you can tap your foot to. The album’s mythical opening lyrics “The trumpet scatters its awful sound / Over the graves of all lands / Summoning all before the throne / death and mankind shall be stunned” certainly set the tone.\u003c/p>\n\u003cfigure id=\"attachment_10145496\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\" alt=\"Album cover for The Runners Four\" width=\"600\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for The Runners Four\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to digest upon first listen, yet anyone with a love of The Beatles’ more experimental excursions and a high tolerance for noise can find it appealing. Subsequent albums \u003cem>Apple O’\u003c/em> and \u003cem>Milk Man\u003c/em> are equally erratic, but toned down to more accessible degrees.\u003c/p>\n\u003cp>\u003ca href=\"http://killrockstars.merchtable.com/music/cds-and-dvds/deerhoof-the-runners-four-cd#.VGHE-YeQtFq\">\u003cem>The Runners Four\u003c/em>\u003c/a>, released in 2005, is unique for being significantly more minimal, lyrical, and subdued than anything Deerhoof had released previously. Unique in their discography, each band member takes turns with vocals and some instrumental roles are reversed. Tracks “Odyssey,” “\u003ca href=\"http://youtu.be/8qGr6vkSEwQ\" target=\"_blank\" rel=\"noopener\">You Can See\u003c/a>” and “Siriustar” are highlights.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r7etn2czISU'\n title='//www.youtube.com/embed/r7etn2czISU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2007’s \u003ca title=\"<i>Friend Opportunity</i>\" href=\"http://deerhoof.bandcamp.com/album/friend-opportunity\">\u003cem>Friend Opportunity\u003c/em>\u003c/a> is Deerhoof at their peak. The album features diverse instrumentation, including trumpets and keyboards. The compositions are controlled and dutifully organized. “Whither the Invisible Birds?” is a soft and cinematic rhapsody. \u003ca href=\"https://www.youtube.com/watch?v=V_Pesk9Frkg\">“Matchbook Seeks Maniac”\u003c/a> plays a triumphant chorus that takes the album to lofty heights.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XBcy-zOq_QM'\n title='//www.youtube.com/embed/XBcy-zOq_QM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although \u003cem>Friend Opportunity\u003c/em> was arguably Deerhoof’s champion statement, their releases following it have a similar maturity of style. \u003cem>Offend Maggie\u003c/em>, \u003cem>Deerhoof vs. Evil\u003c/em> and the danceable tunes of \u003ca href=\"http://deerhoof.bandcamp.com/album/breakup-song\">\u003cem>Breakup Songs\u003c/em>\u003c/a> all offer different perspectives to enjoy this band’s eclectic sound.\u003c/p>\n\u003cfigure id=\"attachment_10145483\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\" alt=\"Album cover for La Isla Bonita, released November 4th on Polyvinyl Records.\" width=\"640\" height=\"640\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for La Isla Bonita, released November 4, 2014 on Polyvinyl Records.\u003c/figcaption>\u003c/figure>\n\u003cp>Their latest LP \u003cem>La Isla Bonita\u003c/em>, released November 4, is a walk away from the synth-charged direction of \u003cem>Breakup Songs\u003c/em> and a return to their more raucous leanings.\u003c/p>\n\u003cp>The band scattered a few years back, relocating to four different cities and continuing their collaboration long distance. Catch Deerhoof when it returns to native soil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deerhoof plays November 18, 2014 at The Great American Music Hall in San Francisco. For \u003ca href=\"http://www.slimspresents.com/events/2014-11-18/deerhoof-2/\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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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",
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"source": "NPR"
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"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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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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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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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"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>",
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