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"title": "Negativland Is Still Culture Jamming and Taking on Our Masters",
"headTitle": "Negativland Is Still Culture Jamming and Taking on Our Masters | KQED",
"content": "\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n",
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"excerpt": "We spoke with Negativland about the release of their new album, \u003ci>It's All in Your Head,\u003c/i> and a bunch of other stuff that they've never talked about before.",
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"description": "We spoke with Negativland about the release of their new album, It's All in Your Head, and a bunch of other stuff that they've never talked about before.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Catching Up With Former Locals",
"headTitle": "Mixtape: Catching Up With Former Locals | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of recent tracks by former Bay Area musicians.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Former_Locals_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The news that John Dwyer of San Francisco mainstays \u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> was moving to Los Angeles — followed shortly thereafter by a Dwyer-penned press release that called the City a “graveyard” of “tech waste” – caught many of us by surprise, but it probably shouldn’t have. Indie musicians frequently leave their home bases for new environs. Musicians move for a variety of reasons — for a change of pace, to be closer to collaborators, and to find new receptive audiences.\u003c/p>\n\u003cp>Locally, many have been \u003ca href=\"http://thebaybridged.com/2013/12/17/art-technology-part-i-the-state-of-the-bay-area-from-the-musicians-perspective/\" target=\"_blank\" rel=\"noopener\">concerned about the high cost of living here\u003c/a> \u003ca href=\"http://thebaybridged.com/2014/01/08/art-technology-part-ii-opportunities-challenges-and-moving-forward/\" target=\"_blank\" rel=\"noopener\">pushing musicians away\u003c/a>, a frustration expressed by the Crime on the Moon label’s \u003ca href=\"http://www.wired.com/2014/06/san-francisco-is-doomed-music-comp/\" target=\"_blank\" rel=\"noopener\">excellent recent compilation, \u003cem>San Francisco is Doomed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In LA, Dwyer joined another former local, \u003ca href=\"https://www.facebook.com/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a>, who relocated last year to be closer to his family, and others like \u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a>, Damon Palermo of \u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a>, and \u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> have similarly headed south in recent years. A number of artists have moved even farther, with \u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> and Alexis Georgopoulos of \u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> leaving the Bay Area for Austin and New York, respectively, and Ryan Karazija of Audrye Sessions emerging in Reykjavik with a new band called \u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a>.\u003c/p>\n\u003cp>This mixtape checks out new and recent releases from ten artists who previously called the Bay Area home. They may no longer be locals, but they’re still extremely talented. Besides, many of these musicians frequently come back to the Bay Area to play live, and we’ll always consider them members of the extended Bay Area musical community.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the Bands:\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a> – “Susie Thumb”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nFor an artist who used to release records at a feverish pace, Ty Segall was surprisingly quiet for a long time after moving to Los Angeles last year. That changed in August with the release of \u003cem>Manipulator\u003c/em>, an ambitious new album on Drag City. The LP has been widely hailed as a new peak for Segall, and, although his ongoing worldwide tour in support of the album hasn’t hit SF yet, it shouldn’t be too long before he and his band return for a show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> – “UHF1”\u003cbr>\nNow hailing from: New York, NY\u003cbr>\nAfter years in beloved local post-punk-meets-krautrock wizards Tussle, Alexis Georgopoulos split off to begin performing as Arp. Georgopoulos eventually moved to New York, expressing \u003ca href=\"http://www.freundevonfreunden.com/interviews/alexis-georgopoulos/\" target=\"_blank\" rel=\"noopener\">in an interview last year\u003c/a> that he found San Francisco to have an “artistic landscape to be a bit narrow in scope.” The project began with a more experimental electronic bent, but his new record, \u003cem>Pulsars e Quasars\u003c/em>, ventures excitingly into noisy psych-pop territory. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> – “Finest Line (acoustic version)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThe longtime leader of Birds & Batteries moved to LA and released a solo album earlier this year. \u003cem>Mid Dream\u003c/em> finds the artist putting his synthier inclinations aside in order to more deeply explore his love of ’70s classic rock. The record was recently re-released as \u003cem>Mid Dream Complete Sessions\u003c/em> with bonus tracks from the album’s recording sessions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HissGoldenMessenger\" target=\"_blank\" rel=\"noopener\">Hiss Golden Messenger\u003c/a> – “Mahogany Dread”\u003cbr>\t\u003cbr>\nNow hailing from: Durham, NC\u003cbr>\nMC Taylor and Scott Hirsch’s country-influenced indie band The Court and Spark gathered significant acclaim in the late ’90s and early ’00s, but after that group’s dissolution, both left the Bay Area for the East Coast and began recording as Hiss Golden Messenger. The band’s fifth album, \u003cem>Lateness of Dancers\u003c/em>, arrived in September on Merge, gaining them long overdue acclaim. The band returns to SF for a show at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on November 11.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a> – “Strongbow & Spliffs (feat. Roche)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nBoth members of Mi Ami — Damon Palermo and Daniel Martin-McCormick — picked up solo electronic projects as their band dissolved. Over the past few years, Palermo’s Magic Touch has released buzzing house records on the acclaimed LA label 100% Silk. The track included here is a collaboration with labelmate and local producer Roche.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a> – “I’ll Keep Coming”\u003cbr>\nNow hailing from: Reykjavik, Iceland\u003cbr>\nOakland’s Audrye Sessions accumulated a sizable local following during the band’s run in the 2000s, eventually releasing an album on a major label before the label collapsed and the band broke up. In the aftermath, vocalist Ryan Karazija relocated to Reykjavik, where he started the solo-project-turned-full-band Low Roar. The group’s new album is called \u003cem>0\u003c/em>, and it features strings by Sigur Ros collaborators Amiina.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a> – “Fuck Fame”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nOakland native Bart Davenport spent many years in the Bay Area music scene, as a solo artist and a member of numerous bands. A few years ago, Davenport headed to Southern California to form a new band. \u003cem>Physical World\u003c/em>, which arrived earlier this year, is his first solo album in six years, and another stellar collection of rock-pop from this supremely talented songwriter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> – “Painted Sign”\u003cbr>\nNow hailing from: Austin, TX\u003cbr>\nMatthew Melton left the Bay Area for Austin this year, reforming his band Warm Soda with a new Texas-based lineup and taking his \u003ca href=\"http://www.fuzzcityrecords.com/\" target=\"_blank\" rel=\"noopener\">Fuzz City\u003c/a> record label and recording studio with him. His latest solo LP is \u003cem>Outside of Paradise\u003c/em>, a collection of songs that were recorded over the last seven years but never found their way onto any of the prolific songwriter’s other projects.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CraftSpells\" target=\"_blank\" rel=\"noopener\">Craft Spells\u003c/a> – “Breaking the Angle Against the Tide”\u003cbr>\nNow hailing from: Seattle, WA\u003cbr>\nCraft Spells leader Justin Vallesteros moved to San Francisco after the release of his first LP, only to find that living in the city brought him a serious case of writer’s block. Moving back in with his parents in Lathrop (near Stockton), Vallesteros began composing on a piano, eventually crafting all of the songs on his new album \u003cem>Nausea\u003c/em>. The album was recorded in Seattle, where the musician moved earlier this year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> – “Drop”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThee Oh Sees’ hiatus that accompanied bandleader John Dwyer’s move from San Francisco to Los Angeles didn’t seem to last very long, what with the well-received arrival of \u003cem>Drop\u003c/em>, and multiple tours so far this year. Speaking of which, the band’s upcoming North American dates conclude with two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on December 4 and 5. Dwyer has reconfigured the touring version of Thee Oh Sees as a trio, but word is that Bay Area-based Brigid Dawson, Petey Dammit, and Mike Shoun continue to round out the group’s recording configuration.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of recent tracks by former Bay Area musicians.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Former_Locals_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The news that John Dwyer of San Francisco mainstays \u003ca href=\"http://www.theeohsees.com/\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a> was moving to Los Angeles — followed shortly thereafter by a Dwyer-penned press release that called the City a “graveyard” of “tech waste” – caught many of us by surprise, but it probably shouldn’t have. Indie musicians frequently leave their home bases for new environs. Musicians move for a variety of reasons — for a change of pace, to be closer to collaborators, and to find new receptive audiences.\u003c/p>\n\u003cp>Locally, many have been \u003ca href=\"http://thebaybridged.com/2013/12/17/art-technology-part-i-the-state-of-the-bay-area-from-the-musicians-perspective/\" target=\"_blank\" rel=\"noopener\">concerned about the high cost of living here\u003c/a> \u003ca href=\"http://thebaybridged.com/2014/01/08/art-technology-part-ii-opportunities-challenges-and-moving-forward/\" target=\"_blank\" rel=\"noopener\">pushing musicians away\u003c/a>, a frustration expressed by the Crime on the Moon label’s \u003ca href=\"http://www.wired.com/2014/06/san-francisco-is-doomed-music-comp/\" target=\"_blank\" rel=\"noopener\">excellent recent compilation, \u003cem>San Francisco is Doomed\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In LA, Dwyer joined another former local, \u003ca href=\"https://www.facebook.com/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a>, who relocated last year to be closer to his family, and others like \u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a>, Damon Palermo of \u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a>, and \u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> have similarly headed south in recent years. A number of artists have moved even farther, with \u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> and Alexis Georgopoulos of \u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> leaving the Bay Area for Austin and New York, respectively, and Ryan Karazija of Audrye Sessions emerging in Reykjavik with a new band called \u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a>.\u003c/p>\n\u003cp>This mixtape checks out new and recent releases from ten artists who previously called the Bay Area home. They may no longer be locals, but they’re still extremely talented. Besides, many of these musicians frequently come back to the Bay Area to play live, and we’ll always consider them members of the extended Bay Area musical community.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the Bands:\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=\"https://www.facebook.com/pages/Ty-Segall/268287955622\" target=\"_blank\" rel=\"noopener\">Ty Segall\u003c/a> – “Susie Thumb”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nFor an artist who used to release records at a feverish pace, Ty Segall was surprisingly quiet for a long time after moving to Los Angeles last year. That changed in August with the release of \u003cem>Manipulator\u003c/em>, an ambitious new album on Drag City. The LP has been widely hailed as a new peak for Segall, and, although his ongoing worldwide tour in support of the album hasn’t hit SF yet, it shouldn’t be too long before he and his band return for a show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/A-R-P/178416295508156\" target=\"_blank\" rel=\"noopener\">Arp\u003c/a> – “UHF1”\u003cbr>\nNow hailing from: New York, NY\u003cbr>\nAfter years in beloved local post-punk-meets-krautrock wizards Tussle, Alexis Georgopoulos split off to begin performing as Arp. Georgopoulos eventually moved to New York, expressing \u003ca href=\"http://www.freundevonfreunden.com/interviews/alexis-georgopoulos/\" target=\"_blank\" rel=\"noopener\">in an interview last year\u003c/a> that he found San Francisco to have an “artistic landscape to be a bit narrow in scope.” The project began with a more experimental electronic bent, but his new record, \u003cem>Pulsars e Quasars\u003c/em>, ventures excitingly into noisy psych-pop territory. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mikesempertsongs\" target=\"_blank\" rel=\"noopener\">Mike Sempert\u003c/a> – “Finest Line (acoustic version)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nThe longtime leader of Birds & Batteries moved to LA and released a solo album earlier this year. \u003cem>Mid Dream\u003c/em> finds the artist putting his synthier inclinations aside in order to more deeply explore his love of ’70s classic rock. The record was recently re-released as \u003cem>Mid Dream Complete Sessions\u003c/em> with bonus tracks from the album’s recording sessions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HissGoldenMessenger\" target=\"_blank\" rel=\"noopener\">Hiss Golden Messenger\u003c/a> – “Mahogany Dread”\u003cbr>\t\u003cbr>\nNow hailing from: Durham, NC\u003cbr>\nMC Taylor and Scott Hirsch’s country-influenced indie band The Court and Spark gathered significant acclaim in the late ’90s and early ’00s, but after that group’s dissolution, both left the Bay Area for the East Coast and began recording as Hiss Golden Messenger. The band’s fifth album, \u003cem>Lateness of Dancers\u003c/em>, arrived in September on Merge, gaining them long overdue acclaim. The band returns to SF for a show at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on November 11.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magictouchmusic\" target=\"_blank\" rel=\"noopener\">Magic Touch\u003c/a> – “Strongbow & Spliffs (feat. Roche)”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nBoth members of Mi Ami — Damon Palermo and Daniel Martin-McCormick — picked up solo electronic projects as their band dissolved. Over the past few years, Palermo’s Magic Touch has released buzzing house records on the acclaimed LA label 100% Silk. The track included here is a collaboration with labelmate and local producer Roche.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lowroar.music\" target=\"_blank\" rel=\"noopener\">Low Roar\u003c/a> – “I’ll Keep Coming”\u003cbr>\nNow hailing from: Reykjavik, Iceland\u003cbr>\nOakland’s Audrye Sessions accumulated a sizable local following during the band’s run in the 2000s, eventually releasing an album on a major label before the label collapsed and the band broke up. In the aftermath, vocalist Ryan Karazija relocated to Reykjavik, where he started the solo-project-turned-full-band Low Roar. The group’s new album is called \u003cem>0\u003c/em>, and it features strings by Sigur Ros collaborators Amiina.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\" target=\"_blank\" rel=\"noopener\">Bart Davenport\u003c/a> – “Fuck Fame”\u003cbr>\nNow hailing from: Los Angeles, CA\u003cbr>\nOakland native Bart Davenport spent many years in the Bay Area music scene, as a solo artist and a member of numerous bands. A few years ago, Davenport headed to Southern California to form a new band. \u003cem>Physical World\u003c/em>, which arrived earlier this year, is his first solo album in six years, and another stellar collection of rock-pop from this supremely talented songwriter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/warmsoda777\" target=\"_blank\" rel=\"noopener\">Matthew Melton\u003c/a> – “Painted Sign”\u003cbr>\nNow hailing from: Austin, TX\u003cbr>\nMatthew Melton left the Bay Area for Austin this year, reforming his band Warm Soda with a new Texas-based lineup and taking his \u003ca href=\"http://www.fuzzcityrecords.com/\" target=\"_blank\" rel=\"noopener\">Fuzz City\u003c/a> record label and recording studio with him. His latest solo LP is \u003cem>Outside of Paradise\u003c/em>, a collection of songs that were recorded over the last seven years but never found their way onto any of the prolific songwriter’s other projects.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CraftSpells\" target=\"_blank\" rel=\"noopener\">Craft Spells\u003c/a> – “Breaking the Angle Against the Tide”\u003cbr>\nNow hailing from: Seattle, WA\u003cbr>\nCraft Spells leader Justin Vallesteros moved to San Francisco after the release of his first LP, only to find that living in the city brought him a serious case of writer’s block. Moving back in with his parents in Lathrop (near Stockton), Vallesteros began composing on a piano, eventually crafting all of the songs on his new album \u003cem>Nausea\u003c/em>. The album was recorded in Seattle, where the musician moved earlier this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp class=\"p1\">\u003cstrong>By Eric B. Jacobson\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Yes, okay, Katy Perry’s songs are catchy. And yes, she’s rather talented and some of her songs actually go beyond bubblegum pop. But these days, when I hear her music on the radio, I can’t help but think that, in 10 years, we’re going to look back on her songs like we do the cheesy songs of the ‘80s or the bad rap from the ‘90s: stuff we ate up at the time, but now realize was candy when really we prefer vegetables. Then again, maybe we’ll remember her songs fondly, with a sense of nostalgia for a different time, when we were younger and life was mortgage free.\u003c/p>\n\u003cp class=\"p1\">For most music lovers, songs are often tied to memories, either specific moments or broader periods in our lives. Maybe we were listening to a song when something notable happened, maybe we turned to music to celebrate something, or to forget something. Because of this association between music and memories, our feelings about songs can change over time. In fact, our view of music over time is often a reflection of how we feel about our pasts.\u003c/p>\n\u003cp class=\"p1\">Sometimes, our view of music changes because our tastes change, and we learn to appreciate things that previously went unnoticed. While I once laughed as a pubescent teen at Marvin Gaye's name, during college I realized he is a musical genius. Similarly, a friend of mine is only now discovering Radiohead, despite the fact that they first rose to popularity while she was still in high school. Another friend is just getting into Lionel Richie, decades after his prime, even going so far as to see him in concert. And an older friend of mine is starting to appreciate Santana and the Grateful Dead because of her growing understanding of song composition, despite not liking those bands when they were first popular.\u003c/p>\n\u003cp class=\"p1\">Other times, we develop a fondness for music because it reminds us of good times in our pasts. I grew up listening to the soft rock of the ‘80s in my parents' car. At the time, soft rock was old, mushy stuff I didn’t care for. These days, I’m nostalgic for it, seeking it out and singing along (sometimes in public, so be warned). This is partly because I realize how good those lyrical ballads really are, especially in light of a lot of the flat, rhythm-heavy music that’s popular today. But it’s also partly because those songs remind me of the easier, more carefree days of my youth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">In talking with other people about their musical tastes, it seems that, if someone’s opinion of a song or band has changed, it’s usually because of nostalgia. A friend never really cared for rock growing up, but her older brothers did, and now she likes AC/DC’s “You Shook Me All Night Long” because it reminds her of them. Another friend has found herself drawn to contemporary bands like Haim and Marina & The Diamonds because they have a very ‘90s sound that makes her nostalgic for her youth.\u003c/p>\n\u003cp class=\"p1\">It seems the only time people really stop liking a song is because it became associated with a bad relationship or breakup or some other painful event. (My now Radiohead-loving friend says she’s reminded of 9-11 when she hears Marvin Gaye’s “What’s Going On” because a cover was done in memoriam of those lost, but she still likes the original.) There are definitely songs I can’t listen to anymore because they bring back memories of a breakup, but over time the pain subsides and the songs are added back to my life’s soundtrack.\u003c/p>\n\u003cp class=\"p1\">So this brings me back to Katy Perry. I quickly get pretty sick of her music now, given how often her songs are played, but might I hear those same songs in 10 years and be reminded of good times? After all, I like her song “California Girls” (despite its rather ridiculous lyrics) because it was popular the summer I moved to California and it reminds me of driving around the Peninsula on warm summer evenings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">Who knows? As we get older and we learn to appreciate our pasts, maybe we’re also destined to appreciate the music from that time. If that’s the case, I guess I can look forward to buying “The Best of Katy Perry” someday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cstrong>By Eric B. Jacobson\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Yes, okay, Katy Perry’s songs are catchy. And yes, she’s rather talented and some of her songs actually go beyond bubblegum pop. But these days, when I hear her music on the radio, I can’t help but think that, in 10 years, we’re going to look back on her songs like we do the cheesy songs of the ‘80s or the bad rap from the ‘90s: stuff we ate up at the time, but now realize was candy when really we prefer vegetables. Then again, maybe we’ll remember her songs fondly, with a sense of nostalgia for a different time, when we were younger and life was mortgage free.\u003c/p>\n\u003cp class=\"p1\">For most music lovers, songs are often tied to memories, either specific moments or broader periods in our lives. Maybe we were listening to a song when something notable happened, maybe we turned to music to celebrate something, or to forget something. Because of this association between music and memories, our feelings about songs can change over time. In fact, our view of music over time is often a reflection of how we feel about our pasts.\u003c/p>\n\u003cp class=\"p1\">Sometimes, our view of music changes because our tastes change, and we learn to appreciate things that previously went unnoticed. While I once laughed as a pubescent teen at Marvin Gaye's name, during college I realized he is a musical genius. Similarly, a friend of mine is only now discovering Radiohead, despite the fact that they first rose to popularity while she was still in high school. Another friend is just getting into Lionel Richie, decades after his prime, even going so far as to see him in concert. And an older friend of mine is starting to appreciate Santana and the Grateful Dead because of her growing understanding of song composition, despite not liking those bands when they were first popular.\u003c/p>\n\u003cp class=\"p1\">Other times, we develop a fondness for music because it reminds us of good times in our pasts. I grew up listening to the soft rock of the ‘80s in my parents' car. At the time, soft rock was old, mushy stuff I didn’t care for. These days, I’m nostalgic for it, seeking it out and singing along (sometimes in public, so be warned). This is partly because I realize how good those lyrical ballads really are, especially in light of a lot of the flat, rhythm-heavy music that’s popular today. But it’s also partly because those songs remind me of the easier, more carefree days of my youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">In talking with other people about their musical tastes, it seems that, if someone’s opinion of a song or band has changed, it’s usually because of nostalgia. A friend never really cared for rock growing up, but her older brothers did, and now she likes AC/DC’s “You Shook Me All Night Long” because it reminds her of them. Another friend has found herself drawn to contemporary bands like Haim and Marina & The Diamonds because they have a very ‘90s sound that makes her nostalgic for her youth.\u003c/p>\n\u003cp class=\"p1\">It seems the only time people really stop liking a song is because it became associated with a bad relationship or breakup or some other painful event. (My now Radiohead-loving friend says she’s reminded of 9-11 when she hears Marvin Gaye’s “What’s Going On” because a cover was done in memoriam of those lost, but she still likes the original.) There are definitely songs I can’t listen to anymore because they bring back memories of a breakup, but over time the pain subsides and the songs are added back to my life’s soundtrack.\u003c/p>\n\u003cp class=\"p1\">So this brings me back to Katy Perry. I quickly get pretty sick of her music now, given how often her songs are played, but might I hear those same songs in 10 years and be reminded of good times? After all, I like her song “California Girls” (despite its rather ridiculous lyrics) because it was popular the summer I moved to California and it reminds me of driving around the Peninsula on warm summer evenings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">Who knows? As we get older and we learn to appreciate our pasts, maybe we’re also destined to appreciate the music from that time. If that’s the case, I guess I can look forward to buying “The Best of Katy Perry” someday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After 20 Years, Celebrating Longevity in Hip Hop",
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"content": "\u003cp>One of the country’s most celebrated poets emerged from \u003ca href=\"https://www.youtube.com/watch?v=6IxUXfhC8TI\" target=\"_blank\" rel=\"noopener\">the largest housing development in North America\u003c/a> just over 20 years ago. This month, Oakland’s Fox Theater offers you a chance to hear and celebrate the cultural staying power that is \u003ca href=\"http://www.npr.org/blogs/microphonecheck/2014/04/23/305629896/nas-im-still-charged-20-years-after-illmatic\" target=\"_blank\" rel=\"noopener\">Nasir bin Olu Dara Jones\u003c/a>, otherwise known as Nas.\u003c/p>\n\u003cp>\u003ci>Illmatic\u003c/i>, Nas’ 1994 debut album, continues to stand apart as a crown jewel of ’90s hip hop. His unflinching delivery and terse lyrical code serve as a historical account of that decade’s inner city life and times. The storytelling and soundscape of the album and its raw energy all continue to represent communities under perpetual pressure, so relevant to a nation in which brutality, unemployment, and bias compose daily challenges.\u003c/p>\n\u003cp>On each of two evenings, the first is already sold out, Nas will perform his debut album in its entirety. Part celebration for having created what some have referred to as \u003ca href=\"https://www.youtube.com/watch?v=O4XBaPl9Tns\" target=\"_blank\" rel=\"noopener\">a Bible of hip hop\u003c/a>, the performances will follow screenings of the documentary \u003ci>Nas: Time Is Illmatic\u003c/i>, a film that explores the origins of that first, landmark album and the conditions from which Nas rose.\u003c/p>\n\u003cp>As a writer, my awe centered on how Nas shoved young poetry out of containers too small to accommodate it. New York City, its nascent slam poetry scene, any pair of stereo speakers, nothing could hold the godson’s vision. He transcended social devaluations of the black body with a worldview that rewrote and spoke his personal cosmos to such a degree that the culture, this American musical culture, shifted.\u003c/p>\n\u003cp>For me, not knowing him as the \u003ca href=\"http://bombmagazine.org/article/2125/olu-dara\" target=\"_blank\" rel=\"noopener\">son of a jazz trumpeter\u003c/a>, Nas’ single on the \u003ca href=\"http://www.youtube.com/watch?v=7y3k6KjU4Sk\" target=\"_blank\" rel=\"noopener\">soundtrack to Zebrahead \u003c/a>was my introduction. Then, a chance encounter with \u003ci>Illmatic\u003c/i> in the stacks of a college radio station pulled me in soon after its release. Grazing turntable needle to record, the \u003ca href=\"http://www.youtube.com/watch?v=KIciiTDpyKA\" target=\"_blank\" rel=\"noopener\">“Subway Theme” \u003c/a>intro followed by the \u003ca href=\"http://www.youtube.com/watch?v=tKAh--ss1r0\" target=\"_blank\" rel=\"noopener\">“Human Nature”\u003c/a> loop a few grooves down — it all sounded like youth poised on the cusp of the impossible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In thinking about the album’s sonic launch from Queensbridge to Oakland, I reached out to a couple of quintessential Oakland artists, \u003ca href=\"https://www.facebook.com/TheRealShockG\" target=\"_blank\" rel=\"noopener\">Shock G\u003c/a> and \u003ca href=\"http://www.delthefunkyhomosapien.com/\" target=\"_blank\" rel=\"noopener\">Del the Funky Homosapien\u003c/a>, for their impressions of young Nas bouncing into hip hop at the tail end of what many refer to as its golden age.\u003c/p>\n\u003cfigure id=\"attachment_10143700\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\" alt=\"Del the Funky Homosapien\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: I was a pretty intense hip hop head back then, so anything that eventually became a staple, I had already known about for years before it broke through. That includes Nasty Nas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=S-zndpG0eS8\" target=\"_blank\" rel=\"noopener\">“Live at the Barbecue”\u003c/a> was a down-the-line type song off of Main Source’s first LP and Nas was the first rapper on it. Not many people in Oakland were that onto hip hop, not at that point. So nobody really was up on Main Source, much less Nas, [but] immediately I gravitated toward his flow.\u003c/p>\n\u003cfigure id=\"attachment_10143701\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\" alt=\"Shock G\" width=\"640\" height=\"871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-400x544.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-440x600.jpg 440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shock G\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Shock G\u003c/b>: I was hooked line and sinker from the second I heard, “\u003ca title=\"Nas - NY State of Mind\" href=\"http://youtu.be/UKjj4hk0pV4?t=3m7s\" target=\"_blank\" rel=\"noopener\">I was raised where the nights are jet black\u003c/a>, the fiends fight to get crack.” Nas! I always believed a lot of his appeal and longevity is in what he doesn’t say. Some emcees are conscious-less; anything that sells a record. Not Nas.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: He was soooo dope that his flow just stuck in my head over the years. And it wasn’t even the profoundness that we know of as Nas today. It was extremely graphic though, which is something we associate with Nas primarily.\u003c/p>\n\u003cp>His album dropped, but it was the lead up to that — his single from the \u003ci>Zebrahead\u003c/i> soundtrack… Nas wasn’t really known out in Oakland even when his album dropped. It was a hip hop staple of course, but it wasn’t Snoop Dogg or Dre. [Nas’] kinda music [took] some getting used to, like electronic music today. It was too new.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> I once playfully challenged Nas. In the Digital Underground song, “\u003ca title=\"DU - Wind Me Up\" href=\"http://youtu.be/B93rGE7wCvs?t=2m41s\" target=\"_blank\" rel=\"noopener\">Wind Me Up\u003c/a>” I said: “Nas, you can have the world, I want the universe — Not for myself, I put all others first.” Ha, he never responded, he prolly never even heard it.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien:\u003c/b> If you were hip to that scene [\u003ci>Illmatic\u003c/i>] was a landmark. Most in Oakland were not up on it though, not until much later, like his second album with the Puff Daddy- and Lauren-assisted material.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> Born in the right place with the right pipes and the right parents! His Royal facial symmetry, butter NY accent, and velvet voice doesn’t hurt either, ya smell me?\u003c/p>\n\u003cp>\u003ca href=\"http://staplecrops.com/nas-maximum-distance-minimum-displacement/\" target=\"_blank\" rel=\"noopener\">Citywide, nationwide, worldwide\u003c/a>, the 20th anniversary of Nas’ debut album is a celebration of perseverance, the genius of youth, and a \u003ca href=\"http://hutchinscenter.fas.harvard.edu/announcing-nasir-jones-hiphop-fellowship\" target=\"_blank\" rel=\"noopener\">cultural legacy alive and well\u003c/a> in its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nas: Time is Illmatic\u003c/i> screens Oct. 19 and 21, 2014 followed by the artist’s live performance of his now-classic debut album. For \u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit thefoxoakland.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the country’s most celebrated poets emerged from \u003ca href=\"https://www.youtube.com/watch?v=6IxUXfhC8TI\" target=\"_blank\" rel=\"noopener\">the largest housing development in North America\u003c/a> just over 20 years ago. This month, Oakland’s Fox Theater offers you a chance to hear and celebrate the cultural staying power that is \u003ca href=\"http://www.npr.org/blogs/microphonecheck/2014/04/23/305629896/nas-im-still-charged-20-years-after-illmatic\" target=\"_blank\" rel=\"noopener\">Nasir bin Olu Dara Jones\u003c/a>, otherwise known as Nas.\u003c/p>\n\u003cp>\u003ci>Illmatic\u003c/i>, Nas’ 1994 debut album, continues to stand apart as a crown jewel of ’90s hip hop. His unflinching delivery and terse lyrical code serve as a historical account of that decade’s inner city life and times. The storytelling and soundscape of the album and its raw energy all continue to represent communities under perpetual pressure, so relevant to a nation in which brutality, unemployment, and bias compose daily challenges.\u003c/p>\n\u003cp>On each of two evenings, the first is already sold out, Nas will perform his debut album in its entirety. Part celebration for having created what some have referred to as \u003ca href=\"https://www.youtube.com/watch?v=O4XBaPl9Tns\" target=\"_blank\" rel=\"noopener\">a Bible of hip hop\u003c/a>, the performances will follow screenings of the documentary \u003ci>Nas: Time Is Illmatic\u003c/i>, a film that explores the origins of that first, landmark album and the conditions from which Nas rose.\u003c/p>\n\u003cp>As a writer, my awe centered on how Nas shoved young poetry out of containers too small to accommodate it. New York City, its nascent slam poetry scene, any pair of stereo speakers, nothing could hold the godson’s vision. He transcended social devaluations of the black body with a worldview that rewrote and spoke his personal cosmos to such a degree that the culture, this American musical culture, shifted.\u003c/p>\n\u003cp>For me, not knowing him as the \u003ca href=\"http://bombmagazine.org/article/2125/olu-dara\" target=\"_blank\" rel=\"noopener\">son of a jazz trumpeter\u003c/a>, Nas’ single on the \u003ca href=\"http://www.youtube.com/watch?v=7y3k6KjU4Sk\" target=\"_blank\" rel=\"noopener\">soundtrack to Zebrahead \u003c/a>was my introduction. Then, a chance encounter with \u003ci>Illmatic\u003c/i> in the stacks of a college radio station pulled me in soon after its release. Grazing turntable needle to record, the \u003ca href=\"http://www.youtube.com/watch?v=KIciiTDpyKA\" target=\"_blank\" rel=\"noopener\">“Subway Theme” \u003c/a>intro followed by the \u003ca href=\"http://www.youtube.com/watch?v=tKAh--ss1r0\" target=\"_blank\" rel=\"noopener\">“Human Nature”\u003c/a> loop a few grooves down — it all sounded like youth poised on the cusp of the impossible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In thinking about the album’s sonic launch from Queensbridge to Oakland, I reached out to a couple of quintessential Oakland artists, \u003ca href=\"https://www.facebook.com/TheRealShockG\" target=\"_blank\" rel=\"noopener\">Shock G\u003c/a> and \u003ca href=\"http://www.delthefunkyhomosapien.com/\" target=\"_blank\" rel=\"noopener\">Del the Funky Homosapien\u003c/a>, for their impressions of young Nas bouncing into hip hop at the tail end of what many refer to as its golden age.\u003c/p>\n\u003cfigure id=\"attachment_10143700\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\" alt=\"Del the Funky Homosapien\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: I was a pretty intense hip hop head back then, so anything that eventually became a staple, I had already known about for years before it broke through. That includes Nasty Nas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=S-zndpG0eS8\" target=\"_blank\" rel=\"noopener\">“Live at the Barbecue”\u003c/a> was a down-the-line type song off of Main Source’s first LP and Nas was the first rapper on it. Not many people in Oakland were that onto hip hop, not at that point. So nobody really was up on Main Source, much less Nas, [but] immediately I gravitated toward his flow.\u003c/p>\n\u003cfigure id=\"attachment_10143701\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\" alt=\"Shock G\" width=\"640\" height=\"871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-400x544.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-440x600.jpg 440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shock G\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Shock G\u003c/b>: I was hooked line and sinker from the second I heard, “\u003ca title=\"Nas - NY State of Mind\" href=\"http://youtu.be/UKjj4hk0pV4?t=3m7s\" target=\"_blank\" rel=\"noopener\">I was raised where the nights are jet black\u003c/a>, the fiends fight to get crack.” Nas! I always believed a lot of his appeal and longevity is in what he doesn’t say. Some emcees are conscious-less; anything that sells a record. Not Nas.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: He was soooo dope that his flow just stuck in my head over the years. And it wasn’t even the profoundness that we know of as Nas today. It was extremely graphic though, which is something we associate with Nas primarily.\u003c/p>\n\u003cp>His album dropped, but it was the lead up to that — his single from the \u003ci>Zebrahead\u003c/i> soundtrack… Nas wasn’t really known out in Oakland even when his album dropped. It was a hip hop staple of course, but it wasn’t Snoop Dogg or Dre. [Nas’] kinda music [took] some getting used to, like electronic music today. It was too new.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> I once playfully challenged Nas. In the Digital Underground song, “\u003ca title=\"DU - Wind Me Up\" href=\"http://youtu.be/B93rGE7wCvs?t=2m41s\" target=\"_blank\" rel=\"noopener\">Wind Me Up\u003c/a>” I said: “Nas, you can have the world, I want the universe — Not for myself, I put all others first.” Ha, he never responded, he prolly never even heard it.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien:\u003c/b> If you were hip to that scene [\u003ci>Illmatic\u003c/i>] was a landmark. Most in Oakland were not up on it though, not until much later, like his second album with the Puff Daddy- and Lauren-assisted material.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> Born in the right place with the right pipes and the right parents! His Royal facial symmetry, butter NY accent, and velvet voice doesn’t hurt either, ya smell me?\u003c/p>\n\u003cp>\u003ca href=\"http://staplecrops.com/nas-maximum-distance-minimum-displacement/\" target=\"_blank\" rel=\"noopener\">Citywide, nationwide, worldwide\u003c/a>, the 20th anniversary of Nas’ debut album is a celebration of perseverance, the genius of youth, and a \u003ca href=\"http://hutchinscenter.fas.harvard.edu/announcing-nasir-jones-hiphop-fellowship\" target=\"_blank\" rel=\"noopener\">cultural legacy alive and well\u003c/a> in its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nas: Time is Illmatic\u003c/i> screens Oct. 19 and 21, 2014 followed by the artist’s live performance of his now-classic debut album. For \u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit thefoxoakland.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Joshua Bell, Erykah Badu, and the Art of Busking Anonymously",
"headTitle": "Joshua Bell, Erykah Badu, and the Art of Busking Anonymously | 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>Event Information\u003c/h3>\n\u003ch4>Joshua Bell in Recital\u003c/h4>\n\u003cdiv class=\"event-desc\">Violin master with pianist Alessio Bax.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 24, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Wells Fargo Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/joshua-bell/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch4>Erykah Badu & Childish Gambino\u003c/h4>\n\u003cdiv class=\"event-desc\">Inspired pairing of soul and hip-hop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Greek Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/erykah-badu-with-childish-gambino/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Ladies and gentlemen, we have reached “peak celebrity busking.”\u003c/p>\n\u003cp>Erykah Badu’s \u003ca href=\"http://www.youtube.com/watch?v=KsQY8lqFScM\" target=\"_blank\" rel=\"noopener noreferrer\">short, inconsequential stunt in Times Square\u003c/a> this week officially puts an end to the fun. Why, it seemed like just yesterday that violinist Joshua Bell—who performs Oct. 24 in Santa Rosa—donned a cap and T-shirt, entered a Washington D.C. subway station and kicked off a string of celebrity busking moments.\u003c/p>\n\u003cp>First, there was the heartwarming video of \u003ca href=\"http://laughingsquid.com/lenny-kravitz-hears-street-choir-playing-his-song-joins-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Lenny Kravitz joining a New Orleans choir\u003c/a> for his hit song “Fly Away.” Innocent enough. Then Paul McCartney \u003ca href=\"http://www.youtube.com/watch?v=IzEH8pPBJiw\" target=\"_blank\" rel=\"noopener noreferrer\">“busked” at Covent Garden\u003c/a> (meaning: he announced it on Twitter an hour beforehand) with a stage and professional sound system, playing solely new material as a promotion for his new album. Not to be outdone, Tom Jones followed suit, \u003ca href=\"http://www.youtube.com/watch?v=lALD3PEBdKk\" target=\"_blank\" rel=\"noopener noreferrer\">singing in Covent Garden\u003c/a> as a promo gimmick for his team on \u003cem>The Voice\u003c/em>.\u003c/p>\n\u003cp>And now we have Erykah Badu, who this week sang in Times Square anonymously and received just $3.60 from passersby. The internet, of course, was \u003ca href=\"http://gawker.com/erykah-badu-made-3-60-busking-anonymously-because-new-1646796177\" target=\"_blank\" rel=\"noopener noreferrer\">all too quick to jump on this so-called injustice and rail against the clueless tourists in Times Square\u003c/a> who failed to recognize one of the greatest soul singers of our generation.\u003c/p>\n\u003cp>Mind you, \u003ca href=\"http://ww2.kqed.org/arts/2014/10/13/erykah-badu-and-childish-gambino-the-queen-and-the-court-jester/\" target=\"_blank\" rel=\"noopener noreferrer\">I love Erykah Badu\u003c/a>, but her schtick, and especially the subsequent false internet outrage trumpeted loudly for cheap pageviews, leaves a lousy taste in my mouth. First of all, Badu only sang for four-and-a-half minutes. Do the math, and that’s $48 an hour; not bad. Secondly, she didn’t perform songs so much as get in people’s faces, improvising lines about how she needed money because she didn’t want to get a job. That’s not exactly sympathy-building material—to say nothing of the fact that Erykah Badu is a very successful singer, certainly not destitute, and declaring herself to be poor is at best tacky, and at worst, insulting to real buskers who don’t have a roof over their head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=KsQY8lqFScM]\u003c/p>\n\u003cp>And that’s why Joshua Bell got the whole anonymous-busking thing right \u003ca href=\"http://www.youtube.com/watch?v=hnOPu0_YWhw\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2007\u003c/a>. Dressing incognito, not announcing it beforehand, not antagonizing people for money, and not doing it as a chintzy promotional stunt for a new album or lousy TV show. Just showing up, opening his case on the ground, playing his violin, and seeing what happens. After 43 minutes, only one person recognized him. He made $32.17. You can read Gene Weingarten’s account of the incident in the \u003cem>Washington Post\u003c/em> \u003ca href=\"http://www.washingtonpost.com/lifestyle/magazine/pearls-before-breakfast-can-one-of-the-nations-great-musicians-cut-through-the-fog-of-a-dc-rush-hour-lets-find-out/2014/09/23/8a6d46da-4331-11e4-b47c-f5889e061e5f_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">right here\u003c/a>.\u003c/p>\n\u003cp>For his \u003ca href=\"http://www.santarosasymphony.com/14_15_events/event_joshua_bell.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 25 performance in Santa Rosa\u003c/a> with pianist Alessio Bax—a benefit for the Santa Rosa Symphony—expect slightly more recognition when the two perform sonatas for violin and piano by Schubert, Grieg and Prokofiev.\u003c/p>\n\u003cp>Obviously, expect world-class excellence, too. \u003ca href=\"http://citysound.bohemian.com/2008/07/17/festival-del-sole-joshua-bell-at-castello-di-amorosa/\" target=\"_blank\" rel=\"noopener noreferrer\">I saw Joshua Bell with Jean Yves Thibeaud several years ago\u003c/a>, and I could barely wrap my mind around his precision, verve, and passion. And even though that concert was held in a luxurious $30 million castle in the Napa Valley, Bell was no reclusive star hiding in his dressing room away from the people. In fact, he hopped off the stage afterwards and casually hung out with the audience, chatting and signing autographs.\u003c/p>\n\u003cp>It’s that aspect—the human connection—that differentiates Bell’s original experiment from the glut of recent opportunistic others. (Bell recently \u003ca href=\"http://www.sfgate.com/entertainment/article/Violinist-Joshua-Bell-reprises-2007-train-station-5791691.php\" target=\"_blank\" rel=\"noopener noreferrer\">reprised his subway appearance\u003c/a> in a more formal setting, announced beforehand, to raise awareness for music education in the schools.)\u003c/p>\n\u003cp>Rather than open the floodgates for more, it’s time for celebrities to stop busking on the street until they can get back to purer motives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=hnOPu0_YWhw]\u003c/p>\n\n",
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"excerpt": "While Erykah Badu's short, inconsequential busking stunt in Times Square falls flat, we recall Joshua Bell's original, more altruistic subway experiment.",
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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>Event Information\u003c/h3>\n\u003ch4>Joshua Bell in Recital\u003c/h4>\n\u003cdiv class=\"event-desc\">Violin master with pianist Alessio Bax.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 24, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Wells Fargo Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/joshua-bell/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch4>Erykah Badu & Childish Gambino\u003c/h4>\n\u003cdiv class=\"event-desc\">Inspired pairing of soul and hip-hop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Greek Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/erykah-badu-with-childish-gambino/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Ladies and gentlemen, we have reached “peak celebrity busking.”\u003c/p>\n\u003cp>Erykah Badu’s \u003ca href=\"http://www.youtube.com/watch?v=KsQY8lqFScM\" target=\"_blank\" rel=\"noopener noreferrer\">short, inconsequential stunt in Times Square\u003c/a> this week officially puts an end to the fun. Why, it seemed like just yesterday that violinist Joshua Bell—who performs Oct. 24 in Santa Rosa—donned a cap and T-shirt, entered a Washington D.C. subway station and kicked off a string of celebrity busking moments.\u003c/p>\n\u003cp>First, there was the heartwarming video of \u003ca href=\"http://laughingsquid.com/lenny-kravitz-hears-street-choir-playing-his-song-joins-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Lenny Kravitz joining a New Orleans choir\u003c/a> for his hit song “Fly Away.” Innocent enough. Then Paul McCartney \u003ca href=\"http://www.youtube.com/watch?v=IzEH8pPBJiw\" target=\"_blank\" rel=\"noopener noreferrer\">“busked” at Covent Garden\u003c/a> (meaning: he announced it on Twitter an hour beforehand) with a stage and professional sound system, playing solely new material as a promotion for his new album. Not to be outdone, Tom Jones followed suit, \u003ca href=\"http://www.youtube.com/watch?v=lALD3PEBdKk\" target=\"_blank\" rel=\"noopener noreferrer\">singing in Covent Garden\u003c/a> as a promo gimmick for his team on \u003cem>The Voice\u003c/em>.\u003c/p>\n\u003cp>And now we have Erykah Badu, who this week sang in Times Square anonymously and received just $3.60 from passersby. The internet, of course, was \u003ca href=\"http://gawker.com/erykah-badu-made-3-60-busking-anonymously-because-new-1646796177\" target=\"_blank\" rel=\"noopener noreferrer\">all too quick to jump on this so-called injustice and rail against the clueless tourists in Times Square\u003c/a> who failed to recognize one of the greatest soul singers of our generation.\u003c/p>\n\u003cp>Mind you, \u003ca href=\"http://ww2.kqed.org/arts/2014/10/13/erykah-badu-and-childish-gambino-the-queen-and-the-court-jester/\" target=\"_blank\" rel=\"noopener noreferrer\">I love Erykah Badu\u003c/a>, but her schtick, and especially the subsequent false internet outrage trumpeted loudly for cheap pageviews, leaves a lousy taste in my mouth. First of all, Badu only sang for four-and-a-half minutes. Do the math, and that’s $48 an hour; not bad. Secondly, she didn’t perform songs so much as get in people’s faces, improvising lines about how she needed money because she didn’t want to get a job. That’s not exactly sympathy-building material—to say nothing of the fact that Erykah Badu is a very successful singer, certainly not destitute, and declaring herself to be poor is at best tacky, and at worst, insulting to real buskers who don’t have a roof over their head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/KsQY8lqFScM'\n title='//www.youtube.com/embed/KsQY8lqFScM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that’s why Joshua Bell got the whole anonymous-busking thing right \u003ca href=\"http://www.youtube.com/watch?v=hnOPu0_YWhw\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2007\u003c/a>. Dressing incognito, not announcing it beforehand, not antagonizing people for money, and not doing it as a chintzy promotional stunt for a new album or lousy TV show. Just showing up, opening his case on the ground, playing his violin, and seeing what happens. After 43 minutes, only one person recognized him. He made $32.17. You can read Gene Weingarten’s account of the incident in the \u003cem>Washington Post\u003c/em> \u003ca href=\"http://www.washingtonpost.com/lifestyle/magazine/pearls-before-breakfast-can-one-of-the-nations-great-musicians-cut-through-the-fog-of-a-dc-rush-hour-lets-find-out/2014/09/23/8a6d46da-4331-11e4-b47c-f5889e061e5f_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">right here\u003c/a>.\u003c/p>\n\u003cp>For his \u003ca href=\"http://www.santarosasymphony.com/14_15_events/event_joshua_bell.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 25 performance in Santa Rosa\u003c/a> with pianist Alessio Bax—a benefit for the Santa Rosa Symphony—expect slightly more recognition when the two perform sonatas for violin and piano by Schubert, Grieg and Prokofiev.\u003c/p>\n\u003cp>Obviously, expect world-class excellence, too. \u003ca href=\"http://citysound.bohemian.com/2008/07/17/festival-del-sole-joshua-bell-at-castello-di-amorosa/\" target=\"_blank\" rel=\"noopener noreferrer\">I saw Joshua Bell with Jean Yves Thibeaud several years ago\u003c/a>, and I could barely wrap my mind around his precision, verve, and passion. And even though that concert was held in a luxurious $30 million castle in the Napa Valley, Bell was no reclusive star hiding in his dressing room away from the people. In fact, he hopped off the stage afterwards and casually hung out with the audience, chatting and signing autographs.\u003c/p>\n\u003cp>It’s that aspect—the human connection—that differentiates Bell’s original experiment from the glut of recent opportunistic others. (Bell recently \u003ca href=\"http://www.sfgate.com/entertainment/article/Violinist-Joshua-Bell-reprises-2007-train-station-5791691.php\" target=\"_blank\" rel=\"noopener noreferrer\">reprised his subway appearance\u003c/a> in a more formal setting, announced beforehand, to raise awareness for music education in the schools.)\u003c/p>\n\u003cp>Rather than open the floodgates for more, it’s time for celebrities to stop busking on the street until they can get back to purer motives.\u003c/p>\n\u003cp>\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/hnOPu0_YWhw'\n title='//www.youtube.com/embed/hnOPu0_YWhw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How To Survive the Treasure Island Music Festival: A Veteran's Guide",
"headTitle": "How To Survive the Treasure Island Music Festival: A Veteran’s Guide | 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/events/pick/treasure-island-music-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Treasure Island Music Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Two days of great music in a scenic setting.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 18-19, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Treasure Island\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/treasure-island-music-festival/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Sure, it sounded crazy back in 2007 to have a music festival on Treasure Island, smack-dab in the middle of the San Francisco Bay. But over the last eight years, the \u003ca href=\"http://lineup.treasureislandfestival.com/events/2014/10/18/?alldays=1\" target=\"_blank\" rel=\"noopener noreferrer\">Treasure Island Music Festival\u003c/a> has grown into an irreplaceable jewel in the festival calendar’s postseason. Yes, it has minor challenges of weather and transportation, but it also has great rewards in prescient booking and an incredible setting. Since its inception, it’s been my favorite music festival on the planet.\u003c/p>\n\u003cp>If you’re a newcomer — if you’ve never hopped on the shuttle to the festival, ridden the Ferris wheel and watched the sun set over the San Francisco skyline while your favorite band plays — then there are a few things you should know. Having made the mid-Bay excursion five out of the past seven years, I’ll fill you in on getting there, getting around, and getting the hell out of there before the fog freezes your fingers.\u003c/p>\n\u003cp>Just kidding. The cold’s not that bad. Except for \u003ca href=\"https://www.google.com/search?q=treasure+island+2010+freezing&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=sb#rls=org.mozilla:en-US:official&channel=sb&q=treasure+island+2010+cold\" target=\"_blank\" rel=\"noopener noreferrer\">that one year\u003c/a>.\u003c/p>\n\u003ch4>Get There Early\u003c/h4>\n\u003cp>The thing that intimidates people most about Treasure Island is the very thing that makes it great. Everyone takes public transportation to the festival. Well, not everyone — you can be schmancy and fork out big bucks for an island parking pass — and to be clear about the “public” part, it’s not exactly MUNI. It’s something even crazier: Google buses! Yes, you, too, get to pretend to be one of the elite on a real-live Bauer shuttle. The bus ride always has a festive atmosphere, and even if you’re shy, eavesdropping on others’ conversations is always rewarding.\u003c/p>\n\u003cp>Buses leave from the Bill Graham Civic Auditorium. Get there early. Really. Get there early. I can’t tell you how many times I thought I budgeted enough time, only to find myself disembarking from the bus on the island and running wildly to see the band I really wanted to see. My advice: give yourself two hours’ lead time. If you’re dying to see Banks at 2:45, get to the Civic Center at 12:45 just to be safe. If you’re driving, parking in any one of the lots near the Civic Center can take forever, and then bus lines, bus traffic, will call, entrance lines — it all adds up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10143909\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/TI.FerrisWheel.jpg\" alt=\"TI.FerrisWheel\" width=\"275\" height=\"385\">\u003c/p>\n\u003ch4>Once You’ve Made It\u003c/h4>\n\u003cp>Congratulations! Here’s the good news: unlike larger festivals, you won’t be walking back and forth for miles and miles. The grounds are small, and there are only two stages, with no overlap between sets. The best path between the two stages is definitely on the west side of the field, closest to San Francisco. Not only is it less-populated, but it’s scenic, too.\u003c/p>\n\u003cp>The second stage is so small, there’s almost no bad place to watch from, but for the main stage, you’ll want to head for the trees on the west side of the field. In fact, walk up the entire way behind the trees, and you can usually slide into the crowd right in the front of the stage, off to the side a little bit.\u003c/p>\n\u003cp>Got some down time? The booths at most other festivals are usually awful corporate-tent kryponite, but at Treasure Island, I’m telling you, it’s like Etsy threw up all over the place. Booths change from year to year, but in the past I’ve seen interactive yarn art, a vintage video game arcade, vintage clothes, do-it-yourself electronic music and some weird wandering monsters playing Klezmer music.\u003c/p>\n\u003cp>And of course, there’s the Ferris wheel. The 60-ft. tall ride is an icon of the festival, and if you want to avoid the lines, ride it early in the day. But man, if you want an amazing view, brave the lines right before sunset. If you time it just right, the view is incredible.\u003c/p>\n\u003cfigure id=\"attachment_10143912\" class=\"wp-caption alignright\" style=\"max-width: 275px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10143912\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/AnaTijoux.jpg\" alt=\"Ana Tijoux, from France, appears at this year's festival.\" width=\"275\" height=\"363\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux, from France, appears at this year’s festival.\u003c/figcaption>\u003c/figure>\n\u003ch4>Don’t Just Show Up for the Headliners\u003c/h4>\n\u003cp>This year more than any other, the Treasure Island fest is an excellent showcase for \u003ca href=\"http://lineup.treasureislandfestival.com/events/2014/10/18/?alldays=1\" target=\"_blank\" rel=\"noopener noreferrer\">bands you’ve never heard of \u003c/a>but that are about to blow up. When you comb through the history of the festival’s \u003ca href=\"http://en.wikipedia.org/wiki/Treasure_Island_Music_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">past lineups\u003c/a>, you find acts playing early daytime slots that would go on to headline large halls and theaters — Fleet Foxes, Vampire Weekend, St. Vincent, Flying Lotus, Grimes, Haim and Disclosure all come to mind.\u003c/p>\n\u003cp>So who to catch this year? Personally, I wouldn’t miss \u003ca href=\"https://www.youtube.com/watch?v=PMd9eYXT0mM\" target=\"_blank\" rel=\"noopener noreferrer\">XXYYXX\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=yiQ7S38nKog\" target=\"_blank\" rel=\"noopener noreferrer\">Ana Tijoux\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=p7Fc9FIdEsE\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Hemsworth\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=mJevk3zJt64\" target=\"_blank\" rel=\"noopener noreferrer\">Cathedrals\u003c/a>, or \u003ca href=\"https://www.youtube.com/watch?v=NL9T42SVnN0\" target=\"_blank\" rel=\"noopener noreferrer\">Banks\u003c/a>. Everyone’s got different tastes, of course. Over at KQED Pop, there’s a \u003ca href=\"http://ww2.kqed.org/pop/2014/06/17/treasure-island-music-festival-2014-lineup-announced-heres-the-only-playlist-you-need-to-get-ready-outkast/\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify playlist of sure shots \u003c/a>from this year’s lineup, and our pals at Noise Pop have put together a \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/treasure-island-2014-lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">Top 10 playlist as well\u003c/a>. You already know to catch Zedd, Outkast, Alt-J and Massive Attack, but get there earlier and you’ll be rewarded.\u003c/p>\n\u003ch4>And Then the Fog Rolls In\u003c/h4>\n\u003cp>You need to layer yourself like a mofo at this festival. Because of the ocean breeze, the flat, sea-level terrain and the infamous Bay fog, it can get cold. In 2010, the coldest year yet, I actually left before Belle & Sebastian because I didn’t bring a thick enough jacket—and I love Belle & Sebastian. So don’t worry about looking silly with a thick sweatshirt tied around your waist all day. You’ll need it later.\u003c/p>\n\u003cp>Here’s another thing: leave before the last song. I’ll do you a favor and tell you that Outkast has been closing out their set every night with “Int’l Players Anthem” and “The Whole World,” so if you want to bail after “So Fresh, So Clean,” you’ll get a head start on the shuttles. If you wait, lines for buses back to the city get really long.\u003c/p>\n\u003cp>And there you have it — a perfect weekend spent on the island.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Treasure Island Music Festival runs Saturday–Sunday, Oct. 18-19, on Treasure Island. \u003ca href=\"http://ww2.kqed.org/events/pick/treasure-island-music-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/treasure-island-music-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Treasure Island Music Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Two days of great music in a scenic setting.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 18-19, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Treasure Island\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/treasure-island-music-festival/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Sure, it sounded crazy back in 2007 to have a music festival on Treasure Island, smack-dab in the middle of the San Francisco Bay. But over the last eight years, the \u003ca href=\"http://lineup.treasureislandfestival.com/events/2014/10/18/?alldays=1\" target=\"_blank\" rel=\"noopener noreferrer\">Treasure Island Music Festival\u003c/a> has grown into an irreplaceable jewel in the festival calendar’s postseason. Yes, it has minor challenges of weather and transportation, but it also has great rewards in prescient booking and an incredible setting. Since its inception, it’s been my favorite music festival on the planet.\u003c/p>\n\u003cp>If you’re a newcomer — if you’ve never hopped on the shuttle to the festival, ridden the Ferris wheel and watched the sun set over the San Francisco skyline while your favorite band plays — then there are a few things you should know. Having made the mid-Bay excursion five out of the past seven years, I’ll fill you in on getting there, getting around, and getting the hell out of there before the fog freezes your fingers.\u003c/p>\n\u003cp>Just kidding. The cold’s not that bad. Except for \u003ca href=\"https://www.google.com/search?q=treasure+island+2010+freezing&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=sb#rls=org.mozilla:en-US:official&channel=sb&q=treasure+island+2010+cold\" target=\"_blank\" rel=\"noopener noreferrer\">that one year\u003c/a>.\u003c/p>\n\u003ch4>Get There Early\u003c/h4>\n\u003cp>The thing that intimidates people most about Treasure Island is the very thing that makes it great. Everyone takes public transportation to the festival. Well, not everyone — you can be schmancy and fork out big bucks for an island parking pass — and to be clear about the “public” part, it’s not exactly MUNI. It’s something even crazier: Google buses! Yes, you, too, get to pretend to be one of the elite on a real-live Bauer shuttle. The bus ride always has a festive atmosphere, and even if you’re shy, eavesdropping on others’ conversations is always rewarding.\u003c/p>\n\u003cp>Buses leave from the Bill Graham Civic Auditorium. Get there early. Really. Get there early. I can’t tell you how many times I thought I budgeted enough time, only to find myself disembarking from the bus on the island and running wildly to see the band I really wanted to see. My advice: give yourself two hours’ lead time. If you’re dying to see Banks at 2:45, get to the Civic Center at 12:45 just to be safe. If you’re driving, parking in any one of the lots near the Civic Center can take forever, and then bus lines, bus traffic, will call, entrance lines — it all adds up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10143909\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/TI.FerrisWheel.jpg\" alt=\"TI.FerrisWheel\" width=\"275\" height=\"385\">\u003c/p>\n\u003ch4>Once You’ve Made It\u003c/h4>\n\u003cp>Congratulations! Here’s the good news: unlike larger festivals, you won’t be walking back and forth for miles and miles. The grounds are small, and there are only two stages, with no overlap between sets. The best path between the two stages is definitely on the west side of the field, closest to San Francisco. Not only is it less-populated, but it’s scenic, too.\u003c/p>\n\u003cp>The second stage is so small, there’s almost no bad place to watch from, but for the main stage, you’ll want to head for the trees on the west side of the field. In fact, walk up the entire way behind the trees, and you can usually slide into the crowd right in the front of the stage, off to the side a little bit.\u003c/p>\n\u003cp>Got some down time? The booths at most other festivals are usually awful corporate-tent kryponite, but at Treasure Island, I’m telling you, it’s like Etsy threw up all over the place. Booths change from year to year, but in the past I’ve seen interactive yarn art, a vintage video game arcade, vintage clothes, do-it-yourself electronic music and some weird wandering monsters playing Klezmer music.\u003c/p>\n\u003cp>And of course, there’s the Ferris wheel. The 60-ft. tall ride is an icon of the festival, and if you want to avoid the lines, ride it early in the day. But man, if you want an amazing view, brave the lines right before sunset. If you time it just right, the view is incredible.\u003c/p>\n\u003cfigure id=\"attachment_10143912\" class=\"wp-caption alignright\" style=\"max-width: 275px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10143912\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/AnaTijoux.jpg\" alt=\"Ana Tijoux, from France, appears at this year's festival.\" width=\"275\" height=\"363\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux, from France, appears at this year’s festival.\u003c/figcaption>\u003c/figure>\n\u003ch4>Don’t Just Show Up for the Headliners\u003c/h4>\n\u003cp>This year more than any other, the Treasure Island fest is an excellent showcase for \u003ca href=\"http://lineup.treasureislandfestival.com/events/2014/10/18/?alldays=1\" target=\"_blank\" rel=\"noopener noreferrer\">bands you’ve never heard of \u003c/a>but that are about to blow up. When you comb through the history of the festival’s \u003ca href=\"http://en.wikipedia.org/wiki/Treasure_Island_Music_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">past lineups\u003c/a>, you find acts playing early daytime slots that would go on to headline large halls and theaters — Fleet Foxes, Vampire Weekend, St. Vincent, Flying Lotus, Grimes, Haim and Disclosure all come to mind.\u003c/p>\n\u003cp>So who to catch this year? Personally, I wouldn’t miss \u003ca href=\"https://www.youtube.com/watch?v=PMd9eYXT0mM\" target=\"_blank\" rel=\"noopener noreferrer\">XXYYXX\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=yiQ7S38nKog\" target=\"_blank\" rel=\"noopener noreferrer\">Ana Tijoux\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=p7Fc9FIdEsE\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Hemsworth\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=mJevk3zJt64\" target=\"_blank\" rel=\"noopener noreferrer\">Cathedrals\u003c/a>, or \u003ca href=\"https://www.youtube.com/watch?v=NL9T42SVnN0\" target=\"_blank\" rel=\"noopener noreferrer\">Banks\u003c/a>. Everyone’s got different tastes, of course. Over at KQED Pop, there’s a \u003ca href=\"http://ww2.kqed.org/pop/2014/06/17/treasure-island-music-festival-2014-lineup-announced-heres-the-only-playlist-you-need-to-get-ready-outkast/\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify playlist of sure shots \u003c/a>from this year’s lineup, and our pals at Noise Pop have put together a \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/treasure-island-2014-lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">Top 10 playlist as well\u003c/a>. You already know to catch Zedd, Outkast, Alt-J and Massive Attack, but get there earlier and you’ll be rewarded.\u003c/p>\n\u003ch4>And Then the Fog Rolls In\u003c/h4>\n\u003cp>You need to layer yourself like a mofo at this festival. Because of the ocean breeze, the flat, sea-level terrain and the infamous Bay fog, it can get cold. In 2010, the coldest year yet, I actually left before Belle & Sebastian because I didn’t bring a thick enough jacket—and I love Belle & Sebastian. So don’t worry about looking silly with a thick sweatshirt tied around your waist all day. You’ll need it later.\u003c/p>\n\u003cp>Here’s another thing: leave before the last song. I’ll do you a favor and tell you that Outkast has been closing out their set every night with “Int’l Players Anthem” and “The Whole World,” so if you want to bail after “So Fresh, So Clean,” you’ll get a head start on the shuttles. If you wait, lines for buses back to the city get really long.\u003c/p>\n\u003cp>And there you have it — a perfect weekend spent on the island.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Treasure Island Music Festival runs Saturday–Sunday, Oct. 18-19, on Treasure Island. \u003ca href=\"http://ww2.kqed.org/events/pick/treasure-island-music-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Cobra Vipers Change Name to 'O' and Prepare Release of New EP",
"headTitle": "Black Cobra Vipers Change Name to ‘O’ and Prepare Release of New EP | KQED",
"content": "\u003cp>Changing your name to something as unsearchable as O may seem like an odd choice for a rising band in 2014, but the three-piece San Francisco group formerly known as Black Cobra Vipers made the switch for pretty sensible reasons. \u003c/p>\n\u003cfigure id=\"attachment_10143721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\" alt=\"From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143721\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>After enlisting Richard Barns (the same man responsible for naming The Who) for help, he offered them the name “O” on account of its head-turning and interpretive nature. To add, in the ever-expanding universe of Internet buzz bands, a symbol as simple as a circle may stand out more than any adjective + noun combination one casually scrolls by on music sites.\u003c/p>\n\u003cp>In tandem with the name change, O’s forthcoming self-titled EP turns heads with its lively collection of jams. \u003ci>O\u003c/i>’s eclectic 22 minutes defy easy genre labeling by besieging rock n’ roll from many angles. It combines psychedelic, jazz, soul and pop ingredients into a joyous package of engaging and challenging tunes. \u003c/p>\n\u003cfigure id=\"attachment_10143722\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\" alt=\"O depicted above; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143722\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">O depicted above; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>Opening track “I Reek” causes a double take at the get-go by faking out with a stagger of chords before breaking into a triumphant sprint. The track charges forward with uplifting chord progressions, heightened by chiming keys and vocal harmonies. “I guess my heart ain’t made of iron / I toss and turn in pure desire,” lead-singer Gregory DiMartino croons before the song erupts in chorus. It’s an ecstatic romp that soars in many directions, building and releasing in swells until its fist-pumping close. \u003c/p>\n\u003cp>Indeed, it is readily apparent that \u003cem>O\u003c/em> is a solid step forward from the band’s previous output as Black Cobra Vipers. \u003c/p>\n\u003cfigure id=\"attachment_10143725\" class=\"wp-caption alignright\" style=\"max-width: 488px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\" alt=\"Promotional poster for O's upcoming show at Slims; courtesy of artist's Facebook.\" width=\"488\" height=\"640\" class=\"size-full wp-image-10143725\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional poster for O’s upcoming show at Slims; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://blackcobravipers.bandcamp.com\">Black Cobra Vipers’ \u003ci>EP\u003c/i>\u003c/a> showcased a young band with strong technical ability and a distinctive style. It jumps around with a similar vivacity to \u003cem>O\u003c/em>, but with simpler song-structures and level-headed instrumentals. Many elements introduced in that release, such as vocal harmonies and soft-loud dynamics, are fleshed out to a greater degree in \u003cem>O\u003c/em>. The newly amped-up version of “On The Road”, a previous highlight from \u003cem>EP\u003c/em>, duly shows this improvement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More instruments have also been added without too many arbitrary embellishments. Submerged keys and chimes decorate “Deepthroat Love.” A tender piano leads “Breach,” the lush closing track. A buzzing synth lead comes straight out of left field in “Secret Lover,” like someone blowing hard on a kazoo, perhaps the only questionable addition that could startle casual listeners.\u003c/p>\n\u003cp>The band employs studio effects throughout the recordings without over-relying on them to fill in space. The focus, as it should be, is DiMartino’s vocals and the dynamic song structures. DiMartino stands out prominently as a talented vocalist in his new environment. His singing captures a wide range of emotions, from belting with passion in “I Reek” to restrained and lovesick in “Deepthroat Love.” His wailing resembles a less guttural Tom Waits. \u003c/p>\n\u003cp>As a whole, \u003cem>O\u003c/em> is a solid collection of individual songs, but is somewhat all over the place as a unit. This is a common characteristic on EPs, so perhaps with an album release somewhere down the line, O will establish smoother continuity. But the strength of these fresh recordings, especially tracks “I Reek” and “Breach,” proves that the members of O are technically adept, brimming with ideas and willing to challenge themselves with interesting compositions. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>O is still negotiating with potential record labels concerning the release of this EP. Hear some of it live at when the band plays Slim’s in San Francisco this Thursday, October 16, 2014 before embarking on a cross-country tour. For \u003ca href=\"http://www.slimspresents.com/events/2014-10-16/o-formerly-black-cobra-vipers/\">tickets and information\u003c/a>, visit slimspresents.com.\u003c/p>\n\n",
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"excerpt": "Changing your name to something as unsearchable as O may seem like an odd choice for a rising band in 2014, but the three-piece San Francisco group formerly known as Black Cobra Vipers made the switch for pretty sensible reasons. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Changing your name to something as unsearchable as O may seem like an odd choice for a rising band in 2014, but the three-piece San Francisco group formerly known as Black Cobra Vipers made the switch for pretty sensible reasons. \u003c/p>\n\u003cfigure id=\"attachment_10143721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\" alt=\"From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143721\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>After enlisting Richard Barns (the same man responsible for naming The Who) for help, he offered them the name “O” on account of its head-turning and interpretive nature. To add, in the ever-expanding universe of Internet buzz bands, a symbol as simple as a circle may stand out more than any adjective + noun combination one casually scrolls by on music sites.\u003c/p>\n\u003cp>In tandem with the name change, O’s forthcoming self-titled EP turns heads with its lively collection of jams. \u003ci>O\u003c/i>’s eclectic 22 minutes defy easy genre labeling by besieging rock n’ roll from many angles. It combines psychedelic, jazz, soul and pop ingredients into a joyous package of engaging and challenging tunes. \u003c/p>\n\u003cfigure id=\"attachment_10143722\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\" alt=\"O depicted above; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143722\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">O depicted above; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>Opening track “I Reek” causes a double take at the get-go by faking out with a stagger of chords before breaking into a triumphant sprint. The track charges forward with uplifting chord progressions, heightened by chiming keys and vocal harmonies. “I guess my heart ain’t made of iron / I toss and turn in pure desire,” lead-singer Gregory DiMartino croons before the song erupts in chorus. It’s an ecstatic romp that soars in many directions, building and releasing in swells until its fist-pumping close. \u003c/p>\n\u003cp>Indeed, it is readily apparent that \u003cem>O\u003c/em> is a solid step forward from the band’s previous output as Black Cobra Vipers. \u003c/p>\n\u003cfigure id=\"attachment_10143725\" class=\"wp-caption alignright\" style=\"max-width: 488px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\" alt=\"Promotional poster for O's upcoming show at Slims; courtesy of artist's Facebook.\" width=\"488\" height=\"640\" class=\"size-full wp-image-10143725\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional poster for O’s upcoming show at Slims; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://blackcobravipers.bandcamp.com\">Black Cobra Vipers’ \u003ci>EP\u003c/i>\u003c/a> showcased a young band with strong technical ability and a distinctive style. It jumps around with a similar vivacity to \u003cem>O\u003c/em>, but with simpler song-structures and level-headed instrumentals. Many elements introduced in that release, such as vocal harmonies and soft-loud dynamics, are fleshed out to a greater degree in \u003cem>O\u003c/em>. The newly amped-up version of “On The Road”, a previous highlight from \u003cem>EP\u003c/em>, duly shows this improvement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More instruments have also been added without too many arbitrary embellishments. Submerged keys and chimes decorate “Deepthroat Love.” A tender piano leads “Breach,” the lush closing track. A buzzing synth lead comes straight out of left field in “Secret Lover,” like someone blowing hard on a kazoo, perhaps the only questionable addition that could startle casual listeners.\u003c/p>\n\u003cp>The band employs studio effects throughout the recordings without over-relying on them to fill in space. The focus, as it should be, is DiMartino’s vocals and the dynamic song structures. DiMartino stands out prominently as a talented vocalist in his new environment. His singing captures a wide range of emotions, from belting with passion in “I Reek” to restrained and lovesick in “Deepthroat Love.” His wailing resembles a less guttural Tom Waits. \u003c/p>\n\u003cp>As a whole, \u003cem>O\u003c/em> is a solid collection of individual songs, but is somewhat all over the place as a unit. This is a common characteristic on EPs, so perhaps with an album release somewhere down the line, O will establish smoother continuity. But the strength of these fresh recordings, especially tracks “I Reek” and “Breach,” proves that the members of O are technically adept, brimming with ideas and willing to challenge themselves with interesting compositions. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>O is still negotiating with potential record labels concerning the release of this EP. Hear some of it live at when the band plays Slim’s in San Francisco this Thursday, October 16, 2014 before embarking on a cross-country tour. For \u003ca href=\"http://www.slimspresents.com/events/2014-10-16/o-formerly-black-cobra-vipers/\">tickets and information\u003c/a>, visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Erykah Badu and Childish Gambino: The Queen and the Court Jester",
"headTitle": "Erykah Badu and Childish Gambino: The Queen and the Court Jester | 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/events/pick/erykah-badu-with-childish-gambino/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Erykah Badu & Childish Gambino\u003c/h4>\n\u003cdiv class=\"event-desc\">Inspired pairing of soul and hip-hop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Greek Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/erykah-badu-with-childish-gambino/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At first glance, this weekend’s one-night-only pairing of Erykah Badu and Childish Gambino at the Greek Theater might seem a little incongruous.\u003c/p>\n\u003cp>After all, the two artists hail from different scenes and different eras. Badu’s highest-selling album \u003cem>Baduizm\u003c/em> was released over 17 years ago amid the then-nascent neo-soul movement, while Gambino’s star only recently rose with his sophomore album \u003cem>Because the Internet\u003c/em>—and if he falls into any movement at all, it probably begins with an “http://.”\u003c/p>\n\u003cp>But this Friday’s show in Berkeley is an inspired pairing, especially considering the average fanbase of each act. Imagine, if you will, a typical teenage Childish Gambino fan looking up from Snapchat for five minutes to be mesmerized by Badu’s regal presence, with a full backing band, all dominant elegance and poise. And picture a late-thirties Badu fan, who might have stopped seeking out new music after graduating college years ago, discovering the playful wit and wordplay of a charismatic rapper that they’ll be open-minded about because, hey, he was on \u003cem>Community\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10143874\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143874\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/ErykahBadu.OutLands.jpg\" alt=\"Erykah Badu at Outside Lands, 2010. (Photo: Gabe Meline)\" width=\"400\" height=\"560\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu at Outside Lands, 2010. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Badu, of course, is incredible live. I saw over 100 shows in 2010, and \u003ca href=\"http://citysound.bohemian.com/2011/12/31/top-20-shows-of-2011/\" target=\"_blank\" rel=\"noopener noreferrer\">her set at Outside Lands ranked right at the top\u003c/a>. As if by ESP, her 11-piece band segued smoothly between each number, weaving quotes of Afrika Bambaata’s “Planet Rock,” Freddie Hubbard’s “Red Clay” and Graham Central Station’s “Happy to See You Again” throughout the set. Badu herself hovered above all of it, completely in command of the arrangements, wresting sweetness, sorrow, elation and drama from every song. The entire show felt timeless.\u003c/p>\n\u003cp>As his fans know, timelessness is not Gambino’s stock in trade. \u003cem>Because the Internet\u003c/em> is very much a modern-culture product, referencing E-Vites, Instagram, hashtags, email, texts, friend requests, Twitter and myriad other accoutrements of online life. Gambino quotes the “\u003ca href=\"https://www.youtube.com/watch?v=zGxwbhkDjZM\" target=\"_blank\" rel=\"noopener noreferrer\">Ain’t Nobody Got Time for That\u003c/a>” meme, samples Kanye’s infamous “\u003ca href=\"https://www.youtube.com/watch?v=TEhGhJw9TBg\" target=\"_blank\" rel=\"noopener noreferrer\">You Ain’t Got The Answers, Sway!\u003c/a>” outburst, and even manages to turn the \u003ca href=\"http://www.worldstarhiphop.com/videos/\" target=\"_blank\" rel=\"noopener noreferrer\">Worldstar\u003c/a> chant—the \u003ca href=\"http://www.10news.com/news/websites-name-chanted-during-fight-at-local-beach-05202014\" target=\"_blank\" rel=\"noopener noreferrer\">soundtrack to hundreds of viral fight videos\u003c/a>—into a bona fide chorus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this would be alienating to a different generation, except that Gambino sells it so well—an extroverted rapper with introverted lyrics, the Court Jester to Badu’s Queen. He and Badu both experiment heavily production-wise; eschewing rote beats, Badu’s latest \u003cem>New Amerykah\u003c/em> albums have a futuristic sound, much like the wild \u003cem>Yeezus\u003c/em>-like variety present on \u003cem>Because the Internet\u003c/em>. And both keep hip-hop as an anchor. Badu positions hip-hop as a ruling entity, \u003ca href=\"https://www.youtube.com/watch?v=mpPDbq11cFw\" target=\"_blank\" rel=\"noopener noreferrer\">bigger than religion and the government\u003c/a>, while Gambino, in a now-legendary radio freestyle, wants to dig \u003ca href=\"https://www.youtube.com/watch?v=NfM_fb1onoI\" target=\"_blank\" rel=\"noopener noreferrer\">deeper than rap\u003c/a>.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=NfM_fb1onoI]\u003c/p>\n\u003cp>There’s the whole “legitimate artist” vs. celebrity thing going on in this coupling, too. Gambino \u003ca href=\"http://rap.genius.com/Childish-gambino-iv-sweatpants-lyrics#note-2476715\" target=\"_blank\" rel=\"noopener noreferrer\">isn’t related to Danny Glover\u003c/a>, but he’s still a famous actor. In a post-Drake world, this so-called inauthenticity isn’t as much an issue, although purists from Badu’s audience would likely cry foul. But as Badu herself once said: “Be you. Make sure you’re saying something when you’re saying something. It’s important to sound like you, to feel like you, to be like you. Be you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Love him or hate him, there’s no denying that Childish Gambino’s found his own voice (even while \u003ca href=\"https://www.youtube.com/watch?v=oduK10PU6nA\" target=\"_blank\" rel=\"noopener noreferrer\">covering \u003cem>Baduizm\u003c/em>‘s “On & On,” \u003c/a>a-ha!). Only time will tell if he hones that voice to grow into a towering legend like Erykah Badu, but for now, having both artists on the same bill is a perfect alchemy of unlikely talents.\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/events/pick/erykah-badu-with-childish-gambino/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Erykah Badu & Childish Gambino\u003c/h4>\n\u003cdiv class=\"event-desc\">Inspired pairing of soul and hip-hop.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Greek Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/erykah-badu-with-childish-gambino/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At first glance, this weekend’s one-night-only pairing of Erykah Badu and Childish Gambino at the Greek Theater might seem a little incongruous.\u003c/p>\n\u003cp>After all, the two artists hail from different scenes and different eras. Badu’s highest-selling album \u003cem>Baduizm\u003c/em> was released over 17 years ago amid the then-nascent neo-soul movement, while Gambino’s star only recently rose with his sophomore album \u003cem>Because the Internet\u003c/em>—and if he falls into any movement at all, it probably begins with an “http://.”\u003c/p>\n\u003cp>But this Friday’s show in Berkeley is an inspired pairing, especially considering the average fanbase of each act. Imagine, if you will, a typical teenage Childish Gambino fan looking up from Snapchat for five minutes to be mesmerized by Badu’s regal presence, with a full backing band, all dominant elegance and poise. And picture a late-thirties Badu fan, who might have stopped seeking out new music after graduating college years ago, discovering the playful wit and wordplay of a charismatic rapper that they’ll be open-minded about because, hey, he was on \u003cem>Community\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10143874\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143874\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/ErykahBadu.OutLands.jpg\" alt=\"Erykah Badu at Outside Lands, 2010. (Photo: Gabe Meline)\" width=\"400\" height=\"560\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu at Outside Lands, 2010. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Badu, of course, is incredible live. I saw over 100 shows in 2010, and \u003ca href=\"http://citysound.bohemian.com/2011/12/31/top-20-shows-of-2011/\" target=\"_blank\" rel=\"noopener noreferrer\">her set at Outside Lands ranked right at the top\u003c/a>. As if by ESP, her 11-piece band segued smoothly between each number, weaving quotes of Afrika Bambaata’s “Planet Rock,” Freddie Hubbard’s “Red Clay” and Graham Central Station’s “Happy to See You Again” throughout the set. Badu herself hovered above all of it, completely in command of the arrangements, wresting sweetness, sorrow, elation and drama from every song. The entire show felt timeless.\u003c/p>\n\u003cp>As his fans know, timelessness is not Gambino’s stock in trade. \u003cem>Because the Internet\u003c/em> is very much a modern-culture product, referencing E-Vites, Instagram, hashtags, email, texts, friend requests, Twitter and myriad other accoutrements of online life. Gambino quotes the “\u003ca href=\"https://www.youtube.com/watch?v=zGxwbhkDjZM\" target=\"_blank\" rel=\"noopener noreferrer\">Ain’t Nobody Got Time for That\u003c/a>” meme, samples Kanye’s infamous “\u003ca href=\"https://www.youtube.com/watch?v=TEhGhJw9TBg\" target=\"_blank\" rel=\"noopener noreferrer\">You Ain’t Got The Answers, Sway!\u003c/a>” outburst, and even manages to turn the \u003ca href=\"http://www.worldstarhiphop.com/videos/\" target=\"_blank\" rel=\"noopener noreferrer\">Worldstar\u003c/a> chant—the \u003ca href=\"http://www.10news.com/news/websites-name-chanted-during-fight-at-local-beach-05202014\" target=\"_blank\" rel=\"noopener noreferrer\">soundtrack to hundreds of viral fight videos\u003c/a>—into a bona fide chorus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this would be alienating to a different generation, except that Gambino sells it so well—an extroverted rapper with introverted lyrics, the Court Jester to Badu’s Queen. He and Badu both experiment heavily production-wise; eschewing rote beats, Badu’s latest \u003cem>New Amerykah\u003c/em> albums have a futuristic sound, much like the wild \u003cem>Yeezus\u003c/em>-like variety present on \u003cem>Because the Internet\u003c/em>. And both keep hip-hop as an anchor. Badu positions hip-hop as a ruling entity, \u003ca href=\"https://www.youtube.com/watch?v=mpPDbq11cFw\" target=\"_blank\" rel=\"noopener noreferrer\">bigger than religion and the government\u003c/a>, while Gambino, in a now-legendary radio freestyle, wants to dig \u003ca href=\"https://www.youtube.com/watch?v=NfM_fb1onoI\" target=\"_blank\" rel=\"noopener noreferrer\">deeper than rap\u003c/a>.\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/NfM_fb1onoI'\n title='//www.youtube.com/embed/NfM_fb1onoI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s the whole “legitimate artist” vs. celebrity thing going on in this coupling, too. Gambino \u003ca href=\"http://rap.genius.com/Childish-gambino-iv-sweatpants-lyrics#note-2476715\" target=\"_blank\" rel=\"noopener noreferrer\">isn’t related to Danny Glover\u003c/a>, but he’s still a famous actor. In a post-Drake world, this so-called inauthenticity isn’t as much an issue, although purists from Badu’s audience would likely cry foul. But as Badu herself once said: “Be you. Make sure you’re saying something when you’re saying something. It’s important to sound like you, to feel like you, to be like you. Be you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Love him or hate him, there’s no denying that Childish Gambino’s found his own voice (even while \u003ca href=\"https://www.youtube.com/watch?v=oduK10PU6nA\" target=\"_blank\" rel=\"noopener noreferrer\">covering \u003cem>Baduizm\u003c/em>‘s “On & On,” \u003c/a>a-ha!). Only time will tell if he hones that voice to grow into a towering legend like Erykah Badu, but for now, having both artists on the same bill is a perfect alchemy of unlikely talents.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Top 5 Bands to See at Culture Collide This Week",
"headTitle": "The Top 5 Bands to See at Culture Collide This Week | 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\u003ch4>\u003ca href=\"http://ww2.kqed.org/events/pick/culture-collide-festival/\">Culture Collide Festival\u003c/a>\u003c/h4>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 14 & 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Mission venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/culture-collide-festival/\">Get the details\u003c/a>\u003c/li>\u003c/ul>\n\u003c/aside>\n\u003cp>The \u003ca href=\"http://www.culturecollide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Culture Collide\u003c/a> festival is an annual staple in Los Angeles, living up to its name by bringing dozens of musical acts from all over the world to the hipster enclave of Echo Park. This year, the festival expands to San Francisco’s Mission District, bringing headliners \u003ca href=\"http://cloudnothings.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cloud Nothings\u003c/a> and \u003ca href=\"http://cyhsy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Clap Your Hands Say Yeah\u003c/a>, while also offering its trademark global discovery: \u003ca href=\"http://www.culturecollide.com/festivals/sf/lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">36 bands from a whopping 15 different countries\u003c/a>, many of whom have never played a note on American soil before.\u003c/p>\n\u003cp>Seem overwhelming? It can be, we admit. That’s why we’ve scoured the entire lineup for you, and picked the top five international acts that you won’t want to miss in the Mission this week.\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143781\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Gossling.jpg\" alt=\"Gossling\" width=\"400\" height=\"286\">Gossling (Australia)\u003c/h3>\n\u003cp>Nominated for a 2104 ARIA Award in her native country, Helen Croome proves there’s more to the ladies of Australia than the hip-hop Xerox paper-jam Iggy Azalea. With her band Gossling, Croome this year released a shimmering new album Harvest of Gold, whose title track is one of those perfectly imperfect pop songs, gliding over unconventional structure with a rigid eighth-note monotone that blossoms into a melody that won’t leave your head for days. Another Gossling song to hope for at Culture Collide is “\u003ca href=\"http://youtu.be/SFst2pxp8Ro\" target=\"_blank\" rel=\"noopener noreferrer\">Never Expire\u003c/a>,” with unexpected blasts of white noise in the verse which propel the minor-key, four-on-the-floor boiler to its empowering chorus. \u003cem>Playing Wednesday at the Chapel; 8:30pm.\u003c/em>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=e9p1PZTfsTk]\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143782\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Alphabetics.jpg\" alt=\"Alphabetics\" width=\"400\" height=\"286\">Alphabetics (Costa Rica)\u003c/h3>\n\u003cp>Hailing from the \u003cem>other\u003c/em> San Jose, Alphabetics are everything you wanted the Strokes to morph into after Is This It: high-powered and energized with new ideas, instead of sluggishly strumming a Stratocaster and recovering from the night before. With the Costa Rican quartet, you get dance beats, math-rock riffs, ominous backup vocals, massive drum breaks, pitch-perfect harmonies, processed effects, South American percussion, synthesizer melodies and handclaps—and that’s just in the course of one song! Led by Alejandro Pacheco, the dance-punk band is known to give it their all live and on stage. \u003cem>Playing Tuesday at the Elbo Room; 10pm.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=6_mWBeB3zIc]\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143783\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Skyroads.jpg\" alt=\"Skyroads\" width=\"400\" height=\"286\">Skyroads (Israel)\u003c/h3>\n\u003cp>American indie audiences likely most closely associate Tel Aviv with Monotonix, the no-holds-barred fuzz-rock duo that sometimes seemed more like an exercise in look-at-those-wacky-Middle-Easterners performance art. On the musical and ideological spectrum’s complete opposite is Skyroads, a synth-pop outfit searching for the perfect beat—and consistently finding it. The full-body wobble of the perfect-hit-song “Synthetic” is bound to rattle in a live setting, and “\u003ca href=\"https://www.youtube.com/watch?v=pJfOFAfn9R8\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond the Doors\u003c/a>” has such era-specific 1988 production, you’ll think you’ve discovered the lost B-side to Jermaine Stewart’s “We Don’t Have to Take Our Clothes Off.” \u003cem>Playing Tuesday at the Chapel; 9:30pm.\u003c/em>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=QamZmv4ysJA]\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10143784\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LoveXStereo-400x306.gif\" alt=\"LoveXStereo\" width=\"400\" height=\"306\">Love X Stereo (South Korea)\u003c/h3>\n\u003cp>As a former punk band that’s gone electro, Love X Stereo brings a glossy form of confrontation to their music; whether “\u003ca href=\"https://www.youtube.com/watch?v=MzsLqJK8g8E\" target=\"_blank\" rel=\"noopener noreferrer\">Free Ass\u003c/a>” is an invitation or a threat, with its skronky guitar blasts and declaration “I wanna have sex with Americans,” is anyone’s guess. Elsewhere in the band’s vast catalog, straight-ahead jangle pop songs like “\u003ca href=\"https://www.youtube.com/watch?v=CNraZJpVFso\" target=\"_blank\" rel=\"noopener noreferrer\">Soul City (Seoul City)\u003c/a>” contrast with saturated ’90s jams like “Storm” and electro collaborations like “\u003ca href=\"https://www.youtube.com/watch?v=RIAdJ1JW9yM\" target=\"_blank\" rel=\"noopener noreferrer\">Bu-kkeu-reo-wo-yo\u003c/a>.” The real treat to seeing them live? Lead singer Annie Ko, who spent six years in L.A. as a child, is as strong a frontwoman you’ll find from Korea; she works the stage like a firebrand. \u003cem>Playing Tuesday at Mission Workshop; 7:30pm.\u003c/em>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=x7tu701yWgA]\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/leveltyson.JesperMageroy.jpg\" alt=\"leveltyson.JesperMageroy\" width=\"400\" height=\"285\">Level & Tyson (Norway)\u003c/h3>\n\u003cp>Here in California, we live for the sunshine. But way up in Oslo, the sun can bathe the city for nearly 18 hours a day. That extended illumination infuses Level & Tyson’s bright, bouncy pop songs like “Calling Me Up”—but remember it can stay dark for hours and hours up there, too. Nighttime atmospherics permeate other songs, like “\u003ca href=\"https://soundcloud.com/l-377/01-twystm\" target=\"_blank\" rel=\"noopener noreferrer\">That’s What You Said to Me\u003c/a>,” which undulates rhythmically in a sort of musical Aurora Borealis. \u003cem>Playing Wednesday at the Chapel; 7:30pm\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=F3GFaLZg1HM]\u003c/p>\n\n",
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"excerpt": "The \u003ca href=\"http://www.culturecollide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Culture Collide\u003c/a> festival is an annual staple in Los Angeles, bringing dozens of musical acts from all over the world. This year, the festival expands to San Francisco's Mission District, with 36 bands from a whopping 15 different countries. We've scoured the lineup to bring you the five acts you shouldn't miss.",
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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\u003ch4>\u003ca href=\"http://ww2.kqed.org/events/pick/culture-collide-festival/\">Culture Collide Festival\u003c/a>\u003c/h4>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 14 & 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Mission venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/culture-collide-festival/\">Get the details\u003c/a>\u003c/li>\u003c/ul>\n\u003c/aside>\n\u003cp>The \u003ca href=\"http://www.culturecollide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Culture Collide\u003c/a> festival is an annual staple in Los Angeles, living up to its name by bringing dozens of musical acts from all over the world to the hipster enclave of Echo Park. This year, the festival expands to San Francisco’s Mission District, bringing headliners \u003ca href=\"http://cloudnothings.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cloud Nothings\u003c/a> and \u003ca href=\"http://cyhsy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Clap Your Hands Say Yeah\u003c/a>, while also offering its trademark global discovery: \u003ca href=\"http://www.culturecollide.com/festivals/sf/lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">36 bands from a whopping 15 different countries\u003c/a>, many of whom have never played a note on American soil before.\u003c/p>\n\u003cp>Seem overwhelming? It can be, we admit. That’s why we’ve scoured the entire lineup for you, and picked the top five international acts that you won’t want to miss in the Mission this week.\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143781\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Gossling.jpg\" alt=\"Gossling\" width=\"400\" height=\"286\">Gossling (Australia)\u003c/h3>\n\u003cp>Nominated for a 2104 ARIA Award in her native country, Helen Croome proves there’s more to the ladies of Australia than the hip-hop Xerox paper-jam Iggy Azalea. With her band Gossling, Croome this year released a shimmering new album Harvest of Gold, whose title track is one of those perfectly imperfect pop songs, gliding over unconventional structure with a rigid eighth-note monotone that blossoms into a melody that won’t leave your head for days. Another Gossling song to hope for at Culture Collide is “\u003ca href=\"http://youtu.be/SFst2pxp8Ro\" target=\"_blank\" rel=\"noopener noreferrer\">Never Expire\u003c/a>,” with unexpected blasts of white noise in the verse which propel the minor-key, four-on-the-floor boiler to its empowering chorus. \u003cem>Playing Wednesday at the Chapel; 8:30pm.\u003c/em>\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/e9p1PZTfsTk'\n title='//www.youtube.com/embed/e9p1PZTfsTk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143782\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Alphabetics.jpg\" alt=\"Alphabetics\" width=\"400\" height=\"286\">Alphabetics (Costa Rica)\u003c/h3>\n\u003cp>Hailing from the \u003cem>other\u003c/em> San Jose, Alphabetics are everything you wanted the Strokes to morph into after Is This It: high-powered and energized with new ideas, instead of sluggishly strumming a Stratocaster and recovering from the night before. With the Costa Rican quartet, you get dance beats, math-rock riffs, ominous backup vocals, massive drum breaks, pitch-perfect harmonies, processed effects, South American percussion, synthesizer melodies and handclaps—and that’s just in the course of one song! Led by Alejandro Pacheco, the dance-punk band is known to give it their all live and on stage. \u003cem>Playing Tuesday at the Elbo Room; 10pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/6_mWBeB3zIc'\n title='//www.youtube.com/embed/6_mWBeB3zIc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143783\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Skyroads.jpg\" alt=\"Skyroads\" width=\"400\" height=\"286\">Skyroads (Israel)\u003c/h3>\n\u003cp>American indie audiences likely most closely associate Tel Aviv with Monotonix, the no-holds-barred fuzz-rock duo that sometimes seemed more like an exercise in look-at-those-wacky-Middle-Easterners performance art. On the musical and ideological spectrum’s complete opposite is Skyroads, a synth-pop outfit searching for the perfect beat—and consistently finding it. The full-body wobble of the perfect-hit-song “Synthetic” is bound to rattle in a live setting, and “\u003ca href=\"https://www.youtube.com/watch?v=pJfOFAfn9R8\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond the Doors\u003c/a>” has such era-specific 1988 production, you’ll think you’ve discovered the lost B-side to Jermaine Stewart’s “We Don’t Have to Take Our Clothes Off.” \u003cem>Playing Tuesday at the Chapel; 9:30pm.\u003c/em>\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/QamZmv4ysJA'\n title='//www.youtube.com/embed/QamZmv4ysJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10143784\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LoveXStereo-400x306.gif\" alt=\"LoveXStereo\" width=\"400\" height=\"306\">Love X Stereo (South Korea)\u003c/h3>\n\u003cp>As a former punk band that’s gone electro, Love X Stereo brings a glossy form of confrontation to their music; whether “\u003ca href=\"https://www.youtube.com/watch?v=MzsLqJK8g8E\" target=\"_blank\" rel=\"noopener noreferrer\">Free Ass\u003c/a>” is an invitation or a threat, with its skronky guitar blasts and declaration “I wanna have sex with Americans,” is anyone’s guess. Elsewhere in the band’s vast catalog, straight-ahead jangle pop songs like “\u003ca href=\"https://www.youtube.com/watch?v=CNraZJpVFso\" target=\"_blank\" rel=\"noopener noreferrer\">Soul City (Seoul City)\u003c/a>” contrast with saturated ’90s jams like “Storm” and electro collaborations like “\u003ca href=\"https://www.youtube.com/watch?v=RIAdJ1JW9yM\" target=\"_blank\" rel=\"noopener noreferrer\">Bu-kkeu-reo-wo-yo\u003c/a>.” The real treat to seeing them live? Lead singer Annie Ko, who spent six years in L.A. as a child, is as strong a frontwoman you’ll find from Korea; she works the stage like a firebrand. \u003cem>Playing Tuesday at Mission Workshop; 7:30pm.\u003c/em>\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/x7tu701yWgA'\n title='//www.youtube.com/embed/x7tu701yWgA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/leveltyson.JesperMageroy.jpg\" alt=\"leveltyson.JesperMageroy\" width=\"400\" height=\"285\">Level & Tyson (Norway)\u003c/h3>\n\u003cp>Here in California, we live for the sunshine. But way up in Oslo, the sun can bathe the city for nearly 18 hours a day. That extended illumination infuses Level & Tyson’s bright, bouncy pop songs like “Calling Me Up”—but remember it can stay dark for hours and hours up there, too. Nighttime atmospherics permeate other songs, like “\u003ca href=\"https://soundcloud.com/l-377/01-twystm\" target=\"_blank\" rel=\"noopener noreferrer\">That’s What You Said to Me\u003c/a>,” which undulates rhythmically in a sort of musical Aurora Borealis. \u003cem>Playing Wednesday at the Chapel; 7:30pm\u003c/em>.\u003c/p>\n\u003cp>\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/F3GFaLZg1HM'\n title='//www.youtube.com/embed/F3GFaLZg1HM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>This week, David Wiegand and Suzie Racho share their picks for great events around the Bay Area.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/10/20141010tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10143665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/robertfrancisc.jpg\" alt=\"Robert Francis\" width=\"400\" height=\"265\">Robert Francis & the Night Tide\u003c/h3>\n\u003cp>Overcoming a near-breakdown after his last record, the prodigiously talented Robert Francis is back with a new album, \u003cem>Heaven\u003c/em>, and a new backing band, the Night Tide. Catch him as part of a larger bill at Brick & Mortar on Saturday, Oct. 11. \u003ca href=\"http://ww2.kqed.org/events/pick/robert-francis-the-night-tide/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bywAl0Lnxew\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>‘Sweeney Todd’\u003c/h3>\n\u003cp>This wicked musical has been a repertory staple since its debut in 1979, owing largely to lyrics and music by Stephen Sondheim. In this staging, Theatreworks Silicon Valley updates the time period to World War II, placing the story of the demon barber firmly within the “Keep Calm and Carry On” era. \u003ca href=\"http://ww2.kqed.org/events/pick/sweeney-todd/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qmtcHvkRHT0\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Haden-e1412892938847.jpg\" alt=\"Charlie Haden\" width=\"300\" height=\"202\">‘Remembering Charlie Haden’\u003c/h3>\n\u003cp>The great jazz bassist Charlie Haden died this year, leaving behind an incredible canon of music and a lifetime of memories. As a longtime repeat guest of the Healdsburg Jazz Festival—he performed there five separate times—Haden is honored in a free evening of music, stories, and a screening of the biography film \u003cem>Ramblin’ Boy\u003c/em>, which tracks his life from rural Shenandoah to central Los Angeles, where he joined Ornette Coleman’s pioneering avant-garde quartet. Expect a warm tribute to a dear musician and friend. \u003ca href=\"http://ww2.kqed.org/events/pick/remembering-charlie-haden/\">RSVP for free tickets here\u003c/a>; also, be sure to read \u003ca href=\"http://www.californiareport.org/archive/R201407181630/e\">California Report’s remembrance of Haden\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/marc-maron-e1412893101634.jpg\" alt=\"Marc Maron\" width=\"400\" height=\"300\">Litquake 2014\u003c/h3>\n\u003cp>Now in its 15th year, San Francisco’s massive festival of all things lit returns with another excellent lineup. Among the fiction authors, comic artists, travel writers, poets, \u003cem>New Yorker\u003c/em> illustrators and more, there are appearances by Marc Maron (pictured), Rebecca Solnit, Piper Kerman, Boots Riley and many, many others. \u003ca href=\"http://ww2.kqed.org/events/pick/litquake-2014/\">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=\"alignleft size-thumbnail wp-image-10143673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/exhex-400x266.jpg\" alt=\"Ex Hex\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">Ex Hex\u003c/h3>\n\u003cp>Indie-rock stalwart Mary Timony made a splash in the ’90s with the band Helium, and after a spin as a solo artist, she joined members of Sleater-Kinney and Quasi to form Wild Flag. Her new band, Ex Hex, just dropped their debut record, \u003cem>Rips\u003c/em>, on Merge. On Tuesday, they’ll be opening for Speedy Ortiz at the Rickshaw Stop. \u003ca href=\"http://ww2.kqed.org/events/pick/ex-hex/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bhLw3v_tiY\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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In this staging, Theatreworks Silicon Valley updates the time period to World War II, placing the story of the demon barber firmly within the “Keep Calm and Carry On” era. \u003ca href=\"http://ww2.kqed.org/events/pick/sweeney-todd/\">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/qmtcHvkRHT0'\n title='//www.youtube.com/embed/qmtcHvkRHT0'\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=\"alignleft size-full wp-image-10143670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Haden-e1412892938847.jpg\" alt=\"Charlie Haden\" width=\"300\" height=\"202\">‘Remembering Charlie Haden’\u003c/h3>\n\u003cp>The great jazz bassist Charlie Haden died this year, leaving behind an incredible canon of music and a lifetime of memories. 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Expect a warm tribute to a dear musician and friend. \u003ca href=\"http://ww2.kqed.org/events/pick/remembering-charlie-haden/\">RSVP for free tickets here\u003c/a>; also, be sure to read \u003ca href=\"http://www.californiareport.org/archive/R201407181630/e\">California Report’s remembrance of Haden\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/marc-maron-e1412893101634.jpg\" alt=\"Marc Maron\" width=\"400\" height=\"300\">Litquake 2014\u003c/h3>\n\u003cp>Now in its 15th year, San Francisco’s massive festival of all things lit returns with another excellent lineup. 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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/life-is-living-festival-2014/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Life is Living Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Day-long celebration of West Oakland.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 11, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">DeFremery Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/life-is-living-festival-2014/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>There’s an old saying in journalism, “If it bleeds, it leads”—meaning that if a news story contains death or violence, it leads off the broadcast or makes the front page. West Oakland knows this phenomena \u003ca href=\"http://sanfrancisco.cbslocal.com/2014/09/28/4-injured-west-oakland-shootings/\" target=\"_blank\" rel=\"noopener noreferrer\">all too well\u003c/a>. The media, ostensibly, serves as a mirror for the community, and yet the version reflected back to West Oakland’s residents rarely includes the unity, hope, creativity and strong will of the area.\u003c/p>\n\u003cp>The \u003ca href=\"http://youthspeaks.org/lifeisliving/\" target=\"_blank\" rel=\"noopener noreferrer\">Life is Living festival\u003c/a>, on Oct. 11 in Little Bobby Hutton Park (a.k.a. DeFremery Park), exists to change that image. As a free community event with music, dance, art, spoken word, youth activities, skateboarding, health exhibits and more, the all-day festival encapsulates the spirit of the neighborhood, where everyone is a participant. In a nod to the Black Panther tradition of feeding people free of charge, the day starts with a free breakfast program, expected to feed approximately 500.\u003c/p>\n\u003cp>If we’re talking about skewed reflections, we’re also talking about beauty standards; ‘The Naked Beauty Project’ at the festival promotes natural beauty by the activist and artist \u003ca href=\"http://antique.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Antique\u003c/a>, with hair and skin demonstrations and other activities centered on a positive self-image. A health and wellness zone serves to keep residents inhabiting a healthy body, while a “STEMposium” of interactive art and science stimulates the mind. There’s even a “Barter to the People” trading marketplace, an experiment in cash-free micro-economies.\u003c/p>\n\u003cp>Of course, live music is a huge part of the day. \u003ca href=\"http://madlines.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> is a female hip-hop artist who’s recently dabbled in reggae productions, while \u003ca href=\"http://younggiftedandblack.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Young, Gifted & Black\u003c/a> consists of approximately 20 teenagers performing poetry and music inspired by African-American history. Poet \u003ca href=\"http://www.amirsulaiman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amir Sulaiman\u003c/a>, \u003ca href=\"http://djcavem.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Cavem\u003c/a> and international turntable star \u003ca href=\"http://site.djrashida.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Rashida\u003c/a> (pictured above) fill the afternoon before the big headliner: Shock G from \u003ca href=\"https://www.youtube.com/watch?v=cj9_yW8tZxs\" target=\"_blank\" rel=\"noopener noreferrer\">Digital Underground\u003c/a>. Yes, Humpty Hump will be on hand, too. (\u003ca href=\"http://rap.genius.com/Digital-underground-the-humpty-dance-lyrics#note-134438\" target=\"_blank\" rel=\"noopener noreferrer\">Unfortunately for Hump\u003c/a>, the \u003ca href=\"http://www.yelp.com/biz/burger-king-emeryville\" target=\"_blank\" rel=\"noopener noreferrer\">closest\u003c/a> Burger King is a mile and a half away.)\u003c/p>\n\u003cp>Oakland has \u003ca href=\"http://citysound.bohemian.com/2009/06/01/live-review-abraham-burton-at-the-malcolm-x-jazz-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> of these annual day-long festivals, and they’re an important part of the city’s fabric. But what’s more, they’re always a damn good time. With nonstop entertainment and inspiration, Life is Living is the best free thing to do in Oakland this weekend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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