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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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"description": "While Erykah Badu's short, inconsequential busking stunt in Times Square falls flat, we recall Joshua Bell's original, more altruistic subway experiment.",
"title": "Joshua Bell, Erykah Badu, and the Art of Busking Anonymously | KQED",
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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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"excerpt": "If you're a newcomer to the festival, here's your guide to getting there, getting around, acts to catch and other key tips.",
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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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/bywAl0Lnxew'\n title='//www.youtube.com/embed/bywAl0Lnxew'\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>‘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>\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. 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. 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"title": "Creating a New Reflection at 'Life is Living' in Oakland",
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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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"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/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>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best new music that you should be paying attention to.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/October_Podast_New_Music.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Stay ahead of the curve and keep up with all the best new music as it’s being released. This monthly mix of the best new tracks online features new songs by Thom Yorke, Aphex Twin, Perfume Genius, Flying Lotus and more…\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Getting It On” – SALES, \u003ci>SALES EP\u003c/i>\u003c/li>\n\u003cli>“Magic Mountain” – The Drums, \u003ci>Encyclopedia\u003c/i>\u003c/li>\n\u003cli>“Coronus, The Terminator” – Flying Lotus, \u003ci>You’re Dead!\u003c/i>\u003c/li>\n\u003cli>“No One is Lost” – Stars, \u003ci>No One Is Lost\u003c/i>\u003c/li>\n\u003cli>“syro u473t8+e [141.98][piezoluminescense mix]” – Aphex Twin, \u003ci>Syro\u003c/i>\u003c/li>\n\u003cli>“Lovely Day” – Alt-j, \u003ci>This Is All Yours\u003c/i>\u003c/li>\n\u003cli>“Manhattan (Real Slow Remix)” – Gallant, single\u003c/li>\n\u003cli>“Can’t Do Without You (Tale of Us & Mano Le Tough Remix)” – Caribou, single\u003c/li>\n\u003cli>“Buffalo Nickel” – Allah-Las, \u003ci>Worship The Sun\u003c/i>\u003c/li>\n\u003cli>“Guess Again!” – Thom Yorke, \u003ci>Tomorrow’s Modern Boxes\u003c/i>\u003c/li>\n\u003cli>“Snow In Newark” – Ryan Hemsworth, \u003ci>Last Gang / Secret Songs\u003c/i>\u003c/li>\n\u003cli>“This Isn’t Real” – CHAMP, \u003ci>This Isn’t Real EP\u003c/i>\u003c/li>\n\u003cli>“Fool” – Perfume Genius, \u003ci>Too Bright\u003c/i>\u003c/li>\n\u003cli>“Everyone And Us” – Peaking Lights, \u003ci>Cosmic Logic\u003c/i>\u003c/li>\n\u003cli>“Back to the Shack” – Weezer, \u003ci>Everything Will Be Alright in the End\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Each week, Cy Musiker and David Wiegand scout the Bay Area for great things to do. Listen below to this week’s show.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/10/20141003tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143264\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Storm-Large.2.400.jpg\" alt=\"Storm Large\" width=\"400\" height=\"278\">Storm Large\u003c/h3>\n\u003cp>Storm Large has tackled rock and roll (including a stint here in San Francisco), but now she’s mostly known as a diva of jazz, pop, and cabaret. She’s been part of Portland’s Pink Martini and, while we’re name-dropping, her memoir was featured by Oprah. She’s got a voice as powerful as her name, and she’ll be performing in several spots around the Bay Area. \u003ca href=\"http://ww2.kqed.org/events/pick/storm-large/\">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-full wp-image-10143266\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/MarcusShelby.jpg\" alt=\"Marcus Shelby\" width=\"400\" height=\"311\">Presidio Officer’s Club Grand Opening\u003c/h3>\n\u003cp>Bay Area jazz bassist and composer Marcus Shelby helps kick off the opening weekend of the newly renovated Presidio Officer’s Club. Known for his big-band work, Shelby’s compositions reflect his well-researched take on African-American history. Don’t miss this chance to experience a local legend, at a new venue, for free. Other performers in the opening week include the Alexander String Quartet and Cascada de Flores. \u003ca href=\"http://ww2.kqed.org/events/pick/marcus-shelby/\">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-full wp-image-10143261\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/InaraGeorge.CRED_.RomanCho.jpg\" alt=\"Inara George & Van Dyke Parks\" width=\"400\" height=\"278\">Inara George and Van Dyke Parks with Awes\u003cspan class=\"st\">ö\u003c/span>me Orchestra\u003c/h3>\n\u003cp>Inara George, one half of the duo the Bird and the Bee, grew up as the daughter of the late Lowell George—the heart and soul of the L.A. band Little Feat. After her father died, the producer and songwriter Van Dyke Parks remained a family friend, and in 2008, George and Parks teamed up for a collaborative album titled \u003cem>An Invitation\u003c/em>. In a two-night stand at Z Space, the two perform songs from that album accompanied by the Awesöme Orchestra, a group of fun-loving musicians who drink beer at rehearsals and perform “everything from Berlioz to Björk,” and aerial choreography by Lexi Pearl. The shows, which benefit the orchestra, should prove stimulating and unpredictable under the creative direction of founder and conductor David Möschler. \u003ca href=\"http://ww2.kqed.org/events/pick/inara-george-with-van-dyke-parks/\">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-full wp-image-10143263\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Macario.CRED_.DaveLepori.jpg\" alt=\"Macario\" width=\"400\" height=\"302\">‘Macario’\u003c/h3>\n\u003cp>\u003cem>Macario\u003c/em>, a folk tale about hunger written by the mysterious \u003ca href=\"http://en.wikipedia.org/wiki/B._Traven\">B. Traven\u003c/a>, will be dramatized by one of San Jose’s oldest theater companies, the excellent Teatro Visión. The run includes an Oct. 11 gala performance with tickets costing $45 each. On the flip side, the matinee on Sunday, Oct. 12, is only $15. \u003ca href=\"http://ww2.kqed.org/events/pick/macario/\">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-full wp-image-10143262\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LucindaWilliams.jpg\" alt=\"Lucinda Williams\" width=\"400\" height=\"290\">Hardly Strictly Bluegrass Festival\u003c/h3>\n\u003cp>The massive three-day festival of free live music returns with another stellar lineup sure to attract huge, shoulder-to-shoulder crowds in Golden Gate Park. Along with perennial returnees Lucinda Williams (pictured), Emmylou Harris, Ralph Stanley, Buddy Miller, Steve Earle, John Prine and Robert Earl Keen, this year’s lineup includes fun curveballs like Sharon Van Etten, Deltron 3030, Yo La Tengo, Social Distortion and Built to Spill, among many, many, many others. The crowds are large and the bottlenecks between stages are many, but the lineup is fantastic—and thanks to late founder Warren Hellman’s insistence that the festival be free, you can’t beat the price. \u003ca href=\"http://ww2.kqed.org/events/pick/hardly-strictly-bluegrass-2014/\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143264\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Storm-Large.2.400.jpg\" alt=\"Storm Large\" width=\"400\" height=\"278\">Storm Large\u003c/h3>\n\u003cp>Storm Large has tackled rock and roll (including a stint here in San Francisco), but now she’s mostly known as a diva of jazz, pop, and cabaret. She’s been part of Portland’s Pink Martini and, while we’re name-dropping, her memoir was featured by Oprah. She’s got a voice as powerful as her name, and she’ll be performing in several spots around the Bay Area. \u003ca href=\"http://ww2.kqed.org/events/pick/storm-large/\">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-full wp-image-10143266\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/MarcusShelby.jpg\" alt=\"Marcus Shelby\" width=\"400\" height=\"311\">Presidio Officer’s Club Grand Opening\u003c/h3>\n\u003cp>Bay Area jazz bassist and composer Marcus Shelby helps kick off the opening weekend of the newly renovated Presidio Officer’s Club. Known for his big-band work, Shelby’s compositions reflect his well-researched take on African-American history. Don’t miss this chance to experience a local legend, at a new venue, for free. Other performers in the opening week include the Alexander String Quartet and Cascada de Flores. \u003ca href=\"http://ww2.kqed.org/events/pick/marcus-shelby/\">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-full wp-image-10143261\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/InaraGeorge.CRED_.RomanCho.jpg\" alt=\"Inara George & Van Dyke Parks\" width=\"400\" height=\"278\">Inara George and Van Dyke Parks with Awes\u003cspan class=\"st\">ö\u003c/span>me Orchestra\u003c/h3>\n\u003cp>Inara George, one half of the duo the Bird and the Bee, grew up as the daughter of the late Lowell George—the heart and soul of the L.A. band Little Feat. After her father died, the producer and songwriter Van Dyke Parks remained a family friend, and in 2008, George and Parks teamed up for a collaborative album titled \u003cem>An Invitation\u003c/em>. In a two-night stand at Z Space, the two perform songs from that album accompanied by the Awesöme Orchestra, a group of fun-loving musicians who drink beer at rehearsals and perform “everything from Berlioz to Björk,” and aerial choreography by Lexi Pearl. The shows, which benefit the orchestra, should prove stimulating and unpredictable under the creative direction of founder and conductor David Möschler. \u003ca href=\"http://ww2.kqed.org/events/pick/inara-george-with-van-dyke-parks/\">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-full wp-image-10143263\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Macario.CRED_.DaveLepori.jpg\" alt=\"Macario\" width=\"400\" height=\"302\">‘Macario’\u003c/h3>\n\u003cp>\u003cem>Macario\u003c/em>, a folk tale about hunger written by the mysterious \u003ca href=\"http://en.wikipedia.org/wiki/B._Traven\">B. Traven\u003c/a>, will be dramatized by one of San Jose’s oldest theater companies, the excellent Teatro Visión. The run includes an Oct. 11 gala performance with tickets costing $45 each. On the flip side, the matinee on Sunday, Oct. 12, is only $15. \u003ca href=\"http://ww2.kqed.org/events/pick/macario/\">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-full wp-image-10143262\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LucindaWilliams.jpg\" alt=\"Lucinda Williams\" width=\"400\" height=\"290\">Hardly Strictly Bluegrass Festival\u003c/h3>\n\u003cp>The massive three-day festival of free live music returns with another stellar lineup sure to attract huge, shoulder-to-shoulder crowds in Golden Gate Park. Along with perennial returnees Lucinda Williams (pictured), Emmylou Harris, Ralph Stanley, Buddy Miller, Steve Earle, John Prine and Robert Earl Keen, this year’s lineup includes fun curveballs like Sharon Van Etten, Deltron 3030, Yo La Tengo, Social Distortion and Built to Spill, among many, many, many others. The crowds are large and the bottlenecks between stages are many, but the lineup is fantastic—and thanks to late founder Warren Hellman’s insistence that the festival be free, you can’t beat the price. \u003ca href=\"http://ww2.kqed.org/events/pick/hardly-strictly-bluegrass-2014/\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area in October.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_October_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>October, you’ve outdone yourself this time! Any month that offers a free weekend of \u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> in Golden Gate Park and two days of great bands at the \u003ca href=\"http://treasureislandfestival.com/2014/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> is bound to be good. What’s most surprising about this month’s quality concert offerings, though, is how varied and plentiful they are beyond the festivals. Seriously, a lengthy list of Bay Bridged favorites — like King Tuff, The Rural Alberta Advantage, Ex Hex, and White Fence — were omitted from this mix not because they’re not worth seeing, but because there are plenty of new bands equally deserving of the spotlight.\u003c/p>\n\u003cp>This month affords particularly noteworthy opportunities to see several great acts from overseas. Australia’s \u003ca href=\"https://www.facebook.com/ausmuteants\" target=\"_blank\" rel=\"noopener\">Ausmuteants\u003c/a> are embarking on their first U.S. tour, and the band’s resume should indicate the caliber of garage punk at work here: \u003cem>Order of Operation\u003c/em> was recorded by Mikey Young (Total Control/Eddy Current Suppression Ring), and it’s being released on Goner Records. Meanwhile, \u003ca href=\"https://www.facebook.com/allodarlinmusic\" target=\"_blank\" rel=\"noopener\">Allo Darlin’\u003c/a> is poised to release \u003cem>We Come From The Same Place\u003c/em> next week via Slumberland, and everything we’ve heard so far indicates it’s more top-notch indie pop from this stellar London-based band.\u003c/p>\n\u003cp>There are also a number of exciting new developments closer to home. \u003ca href=\"https://www.facebook.com/Happydivingca\" target=\"_blank\" rel=\"noopener\">Happy Diving\u003c/a> released a stellar noisy-pop EP earlier this year. “Sad Planet,” from the group’s forthcoming debut LP, sounds just as noisy and just as catchy, both of which are very good things. Oakland’s \u003ca href=\"https://www.facebook.com/MALLWALK\" target=\"_blank\" rel=\"noopener\">Mall Walk\u003c/a> recorded their first EP with Monte Vallier soon after the band formed, but “Teen Missing” feels like the sort of rich, textured work of a much older band. All of the other local songs here — from Oakland bands \u003ca href=\"https://www.facebook.com/danceinsttropez\" target=\"_blank\" rel=\"noopener\">St. Tropez\u003c/a> and \u003ca href=\"https://www.facebook.com/EveryoneIsDirty\" target=\"_blank\" rel=\"noopener\">Everyone is Dirty\u003c/a> and SF’s \u003ca href=\"https://www.facebook.com/wearecashforgold\" target=\"_blank\" rel=\"noopener\">Cash for Gold\u003c/a> — are also from recent or upcoming releases.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\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/ausmuteants\" target=\"_blank\" rel=\"noopener\">Ausmuteants\u003c/a> – “Freedom of Information”\u003cbr>\nThe Australian band’s performance at the \u003ca href=\"http://www.hemlocktavern.com/calendar/2014-10/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> also features locals Meat Market and Bicycle Day on October 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/allodarlinmusic\" target=\"_blank\" rel=\"noopener\">Allo Darlin’\u003c/a> – “Romance and Adventure”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on October 24; The Hot Toddies and The Tropics support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearecashforgold\" target=\"_blank\" rel=\"noopener\">Cash for Gold\u003c/a> – “Out All The Time”\u003cbr>\nPerforming at \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=10&dyear=2014\" target=\"_blank\" rel=\"noopener\">Slim’s\u003c/a> as part of an all-local bill with O, Taxes, and Bed on October 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Happydivingca\" target=\"_blank\" rel=\"noopener\">Happy Diving\u003c/a> – “Sad Planet”\u003cbr>\nCelebrating the release of \u003cem>Big World\u003c/em> on October 22 at \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/jennghetto\" target=\"_blank\" rel=\"noopener\">S\u003c/a> – “Vampires”\u003cbr>\nJenn Ghetto’s solo project comes to \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a> on October 10 and \u003ca href=\"http://milksf.com/\" target=\"_blank\" rel=\"noopener\">Milk Bar\u003c/a> on October 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearebeverly\" target=\"_blank\" rel=\"noopener\">Beverly\u003c/a> – “Honey Do”\u003cbr>\nSupporting The Drums at \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=10&dyear=2014\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on October 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MALLWALK\" target=\"_blank\" rel=\"noopener\">Mall Walk\u003c/a> – “Teen Missing”\u003cbr>\nPlaying on October 4 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.d95c0fTh.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> and October 26 at \u003ca href=\"http://www.clubleos.com/\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/danceinsttropez\" target=\"_blank\" rel=\"noopener\">St. Tropez\u003c/a> – “In Pictures”\u003cbr>\nPlaying at \u003ca href=\"http://www.clubleos.com/\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a> on October 11 with The Seshen and Waterstrider.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/theoperatorsmusic\" target=\"_blank\" rel=\"noopener\">Operators\u003c/a> – “True”\u003cbr>\nThe group’s tour with Zola Jesus comes to \u003ca href=\"http://www.bimbos365club.com/\" target=\"_blank\" rel=\"noopener\">Bimbo’s\u003c/a> on October 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ryanhemsworth\" target=\"_blank\" rel=\"noopener\">Ryan Hemsworth\u003c/a> – “Every Square Inch”\u003cbr>\nAppearing at the \u003ca href=\"http://treasureislandfestival.com/2014/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> on October 18.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/EveryoneIsDirty\" target=\"_blank\" rel=\"noopener\">Everyone is Dirty\u003c/a> – “California”\u003cbr>\nThe local band will perform at the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> on October 7 and at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.d95c0fTh.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on October 31.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/chastitybeltmusic\" target=\"_blank\" rel=\"noopener\">Chastity Belt\u003c/a> – “Seattle Party”\u003cbr>\nThe Seattle band comes to \u003ca href=\"http://www.thenightlightoakland.com/\" target=\"_blank\" rel=\"noopener\">The Night Light\u003c/a> on October 17 and the \u003ca href=\"http://www.hemlocktavern.com/calendar/2014-10/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on October 21.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/losGrowlers\" target=\"_blank\" rel=\"noopener\">The Growlers\u003c/a> – “Big Toe”\u003cbr>\nPerforming at the \u003ca href=\"http://treasureislandfestival.com/2014/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> on October 19.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Tonstartssbandht\" target=\"_blank\" rel=\"noopener\">Tonstartssbandht\u003c/a> – “Last Time”\u003cbr>\nWalter TV and Blood Sister join the band at \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> on October 16.\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 bands playing the Bay Area in October.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_October_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>October, you’ve outdone yourself this time! Any month that offers a free weekend of \u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> in Golden Gate Park and two days of great bands at the \u003ca href=\"http://treasureislandfestival.com/2014/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> is bound to be good. What’s most surprising about this month’s quality concert offerings, though, is how varied and plentiful they are beyond the festivals. Seriously, a lengthy list of Bay Bridged favorites — like King Tuff, The Rural Alberta Advantage, Ex Hex, and White Fence — were omitted from this mix not because they’re not worth seeing, but because there are plenty of new bands equally deserving of the spotlight.\u003c/p>\n\u003cp>This month affords particularly noteworthy opportunities to see several great acts from overseas. Australia’s \u003ca href=\"https://www.facebook.com/ausmuteants\" target=\"_blank\" rel=\"noopener\">Ausmuteants\u003c/a> are embarking on their first U.S. tour, and the band’s resume should indicate the caliber of garage punk at work here: \u003cem>Order of Operation\u003c/em> was recorded by Mikey Young (Total Control/Eddy Current Suppression Ring), and it’s being released on Goner Records. Meanwhile, \u003ca href=\"https://www.facebook.com/allodarlinmusic\" target=\"_blank\" rel=\"noopener\">Allo Darlin’\u003c/a> is poised to release \u003cem>We Come From The Same Place\u003c/em> next week via Slumberland, and everything we’ve heard so far indicates it’s more top-notch indie pop from this stellar London-based band.\u003c/p>\n\u003cp>There are also a number of exciting new developments closer to home. \u003ca href=\"https://www.facebook.com/Happydivingca\" target=\"_blank\" rel=\"noopener\">Happy Diving\u003c/a> released a stellar noisy-pop EP earlier this year. “Sad Planet,” from the group’s forthcoming debut LP, sounds just as noisy and just as catchy, both of which are very good things. Oakland’s \u003ca href=\"https://www.facebook.com/MALLWALK\" target=\"_blank\" rel=\"noopener\">Mall Walk\u003c/a> recorded their first EP with Monte Vallier soon after the band formed, but “Teen Missing” feels like the sort of rich, textured work of a much older band. All of the other local songs here — from Oakland bands \u003ca href=\"https://www.facebook.com/danceinsttropez\" target=\"_blank\" rel=\"noopener\">St. Tropez\u003c/a> and \u003ca href=\"https://www.facebook.com/EveryoneIsDirty\" target=\"_blank\" rel=\"noopener\">Everyone is Dirty\u003c/a> and SF’s \u003ca href=\"https://www.facebook.com/wearecashforgold\" target=\"_blank\" rel=\"noopener\">Cash for Gold\u003c/a> — are also from recent or upcoming releases.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\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/ausmuteants\" target=\"_blank\" rel=\"noopener\">Ausmuteants\u003c/a> – “Freedom of Information”\u003cbr>\nThe Australian band’s performance at the \u003ca href=\"http://www.hemlocktavern.com/calendar/2014-10/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> also features locals Meat Market and Bicycle Day on October 15.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/allodarlinmusic\" target=\"_blank\" rel=\"noopener\">Allo Darlin’\u003c/a> – “Romance and Adventure”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on October 24; The Hot Toddies and The Tropics support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearecashforgold\" target=\"_blank\" rel=\"noopener\">Cash for Gold\u003c/a> – “Out All The Time”\u003cbr>\nPerforming at \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=10&dyear=2014\" target=\"_blank\" rel=\"noopener\">Slim’s\u003c/a> as part of an all-local bill with O, Taxes, and Bed on October 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Happydivingca\" target=\"_blank\" rel=\"noopener\">Happy Diving\u003c/a> – “Sad Planet”\u003cbr>\nCelebrating the release of \u003cem>Big World\u003c/em> on October 22 at \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/jennghetto\" target=\"_blank\" rel=\"noopener\">S\u003c/a> – “Vampires”\u003cbr>\nJenn Ghetto’s solo project comes to \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a> on October 10 and \u003ca href=\"http://milksf.com/\" target=\"_blank\" rel=\"noopener\">Milk Bar\u003c/a> on October 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearebeverly\" target=\"_blank\" rel=\"noopener\">Beverly\u003c/a> – “Honey Do”\u003cbr>\nSupporting The Drums at \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=10&dyear=2014\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on October 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MALLWALK\" target=\"_blank\" rel=\"noopener\">Mall Walk\u003c/a> – “Teen Missing”\u003cbr>\nPlaying on October 4 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.d95c0fTh.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> and October 26 at \u003ca href=\"http://www.clubleos.com/\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/danceinsttropez\" target=\"_blank\" rel=\"noopener\">St. Tropez\u003c/a> – “In Pictures”\u003cbr>\nPlaying at \u003ca href=\"http://www.clubleos.com/\" target=\"_blank\" rel=\"noopener\">Leo’s\u003c/a> on October 11 with The Seshen and Waterstrider.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/theoperatorsmusic\" target=\"_blank\" rel=\"noopener\">Operators\u003c/a> – “True”\u003cbr>\nThe group’s tour with Zola Jesus comes to \u003ca href=\"http://www.bimbos365club.com/\" target=\"_blank\" rel=\"noopener\">Bimbo’s\u003c/a> on October 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ryanhemsworth\" target=\"_blank\" rel=\"noopener\">Ryan Hemsworth\u003c/a> – “Every Square Inch”\u003cbr>\nAppearing at the \u003ca href=\"http://treasureislandfestival.com/2014/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> on October 18.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/EveryoneIsDirty\" target=\"_blank\" rel=\"noopener\">Everyone is Dirty\u003c/a> – “California”\u003cbr>\nThe local band will perform at the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> on October 7 and at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.d95c0fTh.dpbs\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on October 31.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/chastitybeltmusic\" target=\"_blank\" rel=\"noopener\">Chastity Belt\u003c/a> – “Seattle Party”\u003cbr>\nThe Seattle band comes to \u003ca href=\"http://www.thenightlightoakland.com/\" target=\"_blank\" rel=\"noopener\">The Night Light\u003c/a> on October 17 and the \u003ca href=\"http://www.hemlocktavern.com/calendar/2014-10/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on October 21.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/losGrowlers\" target=\"_blank\" rel=\"noopener\">The Growlers\u003c/a> – “Big Toe”\u003cbr>\nPerforming at the \u003ca href=\"http://treasureislandfestival.com/2014/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> on October 19.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Tonstartssbandht\" target=\"_blank\" rel=\"noopener\">Tonstartssbandht\u003c/a> – “Last Time”\u003cbr>\nWalter TV and Blood Sister join the band at \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> on October 16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>DJs Celskiii and Deeandroid have been staples of the Bay Area hip-hop scene for over 15 years. Products of the fertile turntablism movement of the late-90s, they have been tour DJs for \u003ca title=\"KRS One\" href=\"http://www.krs-one.com/\" target=\"_blank\">KRS-One \u003c/a>and have twice competed in the US DMC Team Battles, placing second in 2010. Since 2003 they've also fostered a space for other DJs to collaborate and advance their craft with the monthly event \u003ca title=\"Skratchpad SF\" href=\"http://skratchpad.tumblr.com/\" target=\"_blank\">Skratchpad\u003c/a>.\u003c/p>\n\u003cp>In this episode of Art School, we visit Celskiii and Deeandroid in their Vallejo studio. Listen in as they talk about the collaborative and improvisational aspects of DJing, their responsibility to the audience, and why vinyl records still reign supreme.\u003c/p>\n\u003cp>Inspired early on by Bay Area pioneers the \u003ca title=\"ISP\" href=\"http://www.allmusic.com/artist/invisibl-skratch-piklz-mn0000773220/biography\" target=\"_blank\">Invisbl Skratch Piklz\u003c/a>, Deeandroid and Celskiii are now pioneers in their own right who treat us to a lesson in skratch technique in the latest episode of Art School.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=YNNRgo8TFQA&]\u003c/p>\n\u003cp>\u003cstrong>Questions to consider for learners of all ages:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you were a DJ, would you prefer the digital or analog skratch technique? Explain your preference.\u003c/p>\n\u003cp>What other art forms involve collaboration and improvisation?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spend some time thinking of your DJ name and some albums you would want to sample or scratch with, then give it a try! You can take classes at places like the DJ Arts Academy in San Francisco.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"on-the-media": {
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"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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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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