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"content": "\u003cp>It seems like every year — if not every month — an artist or group appears out of thin air to completely absorb the consciousness of devout and casual music fans alike. You know who I’m referring to… the proverbial \u003ci>buzz band\u003c/i>. I’m talking about the Alabama Shakes, Foster the Peoples, Gotyes and MGMTs of the musical universe.\u003c/p>\n\u003cp>I tend to have mixed emotions about these sorts of acts. On the one hand, there’s no denying their talent (for the most part). On the other, it’s tough to ignore the fact that there exists a plethora of “under-the-radar” groups, with just as much talent, that simply haven’t been as fortunate with the lucky breaks. The optimist on one shoulder whispers, “buzz bands make their own luck;” the pessimist on the other screams, “pop culture cannot be trusted.”\u003c/p>\n\u003cp>On Friday, March 14, Bay Area residents will have the opportunity to check out a bona fide candidate for 2014’s buzziest band, live and in person. \u003ca href=\"http://www.lakestreetdive.com/\">Lake Street Dive\u003c/a> will be gracing the stage of Great American Music Hall and showing us what, exactly, is up with \u003ca href=\"http://www.startribune.com/entertainment/music/248874231.html\">all the hype\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/11/lakestreetdive640.jpg\" width=\"640\" height=\"640\" alt=\"Lake Street Device\" class=\"aligncenter\">\u003c/p>\n\u003cp>Lake Street Dive owes its existence to the members’ mutual enrollment in Boston’s \u003ca href=\"http://necmusic.edu/\">New England Conservatory\u003c/a>. Upon first listen, it’s easy to pick out the free form jazz talent present in this musical congregation; however, it’s a little more difficult to place a finger on the band’s identity. Along with jazz, the listener will hear the influence of country, pop, soul, R&B and rock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What is not difficult to discern, though, is that vocalist Rachael Price’s presence (much like Brittany Howard of \u003ca href=\"http://www.alabamashakes.com/\">Alabama Shakes\u003c/a>) is the driving force behind this meteoric rise. From the viral YouTube video of the band’s cover of the Jackson 5 classic “I Want You Back,” to their invite from T Bone Burnett to take part in the Showtime special \u003ca href=\"http://www.sho.com/sho/movies/titles/3398528/another-day-another-time-celebrating-the-music-of-inside-llewyn-davis#/index\">\u003ci>Another Day, Another Time\u003c/i>\u003c/a>, all the way up to Price’s appearance in season two of Netflix’s \u003ci>House of Cards\u003c/i>, her dynamic and exquisite voice has stolen the spotlight.\u003c/p>\n\u003cp>I don’t mean for these comments to downgrade the talent and importance of the rest of Lake Street Dive (consisting of guitarist Mike Olson, bassist Bridget Kearney and drummer Mike Calabrese). If anything, I’m looking forward to the vocal harmonies and instrumental portion of Friday’s show the most. We already know what Price can do; now we get the chance to appreciate the improv talents that brought these musicians together in the first place.\u003c/p>\n\u003cp>The new album, \u003ci>Bad Self Portraits\u003c/i>, gets down to business more so than the band’s previous releases. Lake Street Dive seems to be finding their groove in driving pop sensibilities mixed with classic ability — a bold sound that will fit quite nicely in the boldly Baroque setting of Great American Music Hall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lake Street Dive performs Friday, March 14, at Great American Music Hall in San Francisco. For \u003ca href=\"http://www.slimspresents.com/events/2014-03-14/lake-street-dive-2/\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like every year — if not every month — an artist or group appears out of thin air to completely absorb the consciousness of devout and casual music fans alike. You know who I’m referring to… the proverbial \u003ci>buzz band\u003c/i>. I’m talking about the Alabama Shakes, Foster the Peoples, Gotyes and MGMTs of the musical universe.\u003c/p>\n\u003cp>I tend to have mixed emotions about these sorts of acts. On the one hand, there’s no denying their talent (for the most part). On the other, it’s tough to ignore the fact that there exists a plethora of “under-the-radar” groups, with just as much talent, that simply haven’t been as fortunate with the lucky breaks. The optimist on one shoulder whispers, “buzz bands make their own luck;” the pessimist on the other screams, “pop culture cannot be trusted.”\u003c/p>\n\u003cp>On Friday, March 14, Bay Area residents will have the opportunity to check out a bona fide candidate for 2014’s buzziest band, live and in person. \u003ca href=\"http://www.lakestreetdive.com/\">Lake Street Dive\u003c/a> will be gracing the stage of Great American Music Hall and showing us what, exactly, is up with \u003ca href=\"http://www.startribune.com/entertainment/music/248874231.html\">all the hype\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/11/lakestreetdive640.jpg\" width=\"640\" height=\"640\" alt=\"Lake Street Device\" class=\"aligncenter\">\u003c/p>\n\u003cp>Lake Street Dive owes its existence to the members’ mutual enrollment in Boston’s \u003ca href=\"http://necmusic.edu/\">New England Conservatory\u003c/a>. Upon first listen, it’s easy to pick out the free form jazz talent present in this musical congregation; however, it’s a little more difficult to place a finger on the band’s identity. Along with jazz, the listener will hear the influence of country, pop, soul, R&B and rock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What is not difficult to discern, though, is that vocalist Rachael Price’s presence (much like Brittany Howard of \u003ca href=\"http://www.alabamashakes.com/\">Alabama Shakes\u003c/a>) is the driving force behind this meteoric rise. From the viral YouTube video of the band’s cover of the Jackson 5 classic “I Want You Back,” to their invite from T Bone Burnett to take part in the Showtime special \u003ca href=\"http://www.sho.com/sho/movies/titles/3398528/another-day-another-time-celebrating-the-music-of-inside-llewyn-davis#/index\">\u003ci>Another Day, Another Time\u003c/i>\u003c/a>, all the way up to Price’s appearance in season two of Netflix’s \u003ci>House of Cards\u003c/i>, her dynamic and exquisite voice has stolen the spotlight.\u003c/p>\n\u003cp>I don’t mean for these comments to downgrade the talent and importance of the rest of Lake Street Dive (consisting of guitarist Mike Olson, bassist Bridget Kearney and drummer Mike Calabrese). If anything, I’m looking forward to the vocal harmonies and instrumental portion of Friday’s show the most. We already know what Price can do; now we get the chance to appreciate the improv talents that brought these musicians together in the first place.\u003c/p>\n\u003cp>The new album, \u003ci>Bad Self Portraits\u003c/i>, gets down to business more so than the band’s previous releases. Lake Street Dive seems to be finding their groove in driving pop sensibilities mixed with classic ability — a bold sound that will fit quite nicely in the boldly Baroque setting of Great American Music Hall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lake Street Dive performs Friday, March 14, at Great American Music Hall in San Francisco. For \u003ca href=\"http://www.slimspresents.com/events/2014-03-14/lake-street-dive-2/\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Calling The Complex a new establishment would be a misnomer. In fact, the \u003ca href=\"http://www.sfweekly.com/2008-05-07/music/punk-family-values/full/\">Rosenthal family\u003c/a> would most likely cringe at the word “establishment” being used at all to describe the space. The building has been in the family for decades, serving as a private gallery of alternative art, a costume design studio, and a home. Commercial \u003ci>recording\u003c/i> studio has just recently been added to this list of functions, although plenty of recordings have been made there in the past. Delightfully artistic, outrageously eclectic, and fiercely unique, The Complex destroys the mold of the typical studio and laughs over the broken pieces.\u003c/p>\n\u003cp>The building is a six story glorified warehouse in SOMA, situated in an alleyway that is much more a remnant of Brooklyn than San Francisco. “I believe they shot part of the \u003ci>Rent\u003c/i> movie on this street,” George Rosenthal throws in off-handedly during my recent visit. George is the proprietor of this up-and-coming studio, which is loaded with professional gear deposited amongst trinkets of every sort. It’s truly a monument to the strange and fantastic.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/07/georgecat.jpg\" width=\"218\" height=\"334\" alt=\"George Rosenthal and cat\" class>\u003cfigcaption class=\"wp-caption-text\">George Rosenthal and cat\u003c/figcaption>\u003c/figure>\n\u003cp>George’s father, Henry Rosenthal, is a well-known indie film producer, having such credits as \u003ci>The Devil and Daniel Johnston\u003c/i> to his name. “Growing up I was exposed to him working on his movies,” George explains in the second floor control room of the studio. “I have several childhood memories of going on set and learning the process of filmmaking.” While his father focused more on the business side of the industry, what really interested George was the technical aspect of these films. He diverged slightly from his heritage to become an unabashed tech-geek.\u003c/p>\n\u003cp>George was always encouraged while growing up to learn an instrument, but nothing stuck for him until he began playing guitar in conjunction with learning GarageBand. He cites that the interplay between playing and recording was always central to his music appreciation. “Early on I acknowledged the fact that the production of a song plays in massively to the audience’s appreciation,” he recalls.\u003c/p>\n\u003cp>As George continued stacking the stones of recording knowledge, he began to understand the two-sided coin that is home recording. He informs me, “GarageBand shows you that it’s not hard to record yourself, but it’s hard to record yourself well.” George spent his high school years digging around the Internet, learning about how to trick a home recording into sounding more professional.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thecomplex1.jpg\" width=\"500\" height=\"750\" alt=\"The Complex 1\" class=\"aligncenter\">\u003c/p>\n\u003ch2>From Corporate America to Small Business Owner\u003c/h2>\n\u003cp>During George’s senior year of high school at San Francisco’s \u003ca href=\"http://www.sfsota.org/sota.cfm\">School Of The Arts\u003c/a>, he was required to intern at a local film and media company. His father had recently been introduced to Travis Threlkel, Chief Creative Officer of \u003ca href=\"http://www.obscuradigital.com/about/\">Obscura Digital\u003c/a> (and an “insane video concept wizard,” according to George), who lived a few doors down from The Complex.\u003c/p>\n\u003cp>The talented and eccentric Threlkel gave George an internship that year, and promptly hired him as a paid employee upon his graduation. “Soon after, I discovered everyone at the company was either a musician or audio engineer,” reflects George. “It was a really family oriented company, and everyone was super happy to teach me more of the technical aspects.”\u003c/p>\n\u003cp>George was employed at Obscura Digital for seven years, working on numerous \u003ca href=\"http://www.obscuradigital.com/work/\">extraordinary projects\u003c/a> and using his corporate paycheck to stockpile the recording gear that would eventually become The Complex. Last April, he came to the conclusion that, if he wanted to, he could make the studio a business that could support him and anyone else that wants to work with him to build its brand. He left Obscura Digital to focus full time on what has always been his ultimate passion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thecomplex2.jpg\" width=\"500\" height=\"333\" alt=\"The complex 2\" class=\"alignright\">\u003c/p>\n\u003ch2>The Draw Of The Complex\u003c/h2>\n\u003cp>The space between a \u003ci>project\u003c/i> studio and a \u003ci>professional\u003c/i> studio can be enigmatic, but George hopes The Complex can make a home for itself in this buffer zone. “I noticed really early on that the cost of recording is prohibitive,” he points out. “My perception from the beginning was that if I could figure out how to do a really good home recording it would open up possibilities to a lot of people.”\u003c/p>\n\u003cp>The Complex is much more than a home recording studio, but it maintains the charm and comfort that such a space tends to exude. With obscure — even homemade — instruments and amplifiers, an inflatable raft turned lounging area, a cherry-red Oldsmobile in the corner, and a disco ball overhead, the space is seeping with creativity. For just a little while, at least, a musician can take his or her mind off professional hassles and focus on a project.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The real value-add is that artists can emerge from a session at The Complex with a completed record and high quality video documenting the process, which can be used as promotional material. The photogenic surroundings provide for visually appealing video content, and the relaxed and creative environment leads to inspired performances. At a cost well below the industry standard, what more can a band ask for?\u003c/p>\n\u003ch2>What The Future Holds\u003c/h2>\n\u003cp>“I don’t want to be trapped in San Francisco the rest of my life,” George confesses. He has no qualms about dreaming big. “I think it’d be super cool to have a series of studios that all have this basic core concept of providing affordable and fun recording.” With more and more bands being forced to finance their own albums, an army of studios providing low cost recording plus video content doesn’t seem that far-fetched.\u003c/p>\n\u003cp>For \u003ca href=\"http://thecomplex-sf.com/\">more information\u003c/a> about The Complex, visit the thecomplex-sf.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images by T.J. Mimbs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calling The Complex a new establishment would be a misnomer. In fact, the \u003ca href=\"http://www.sfweekly.com/2008-05-07/music/punk-family-values/full/\">Rosenthal family\u003c/a> would most likely cringe at the word “establishment” being used at all to describe the space. The building has been in the family for decades, serving as a private gallery of alternative art, a costume design studio, and a home. Commercial \u003ci>recording\u003c/i> studio has just recently been added to this list of functions, although plenty of recordings have been made there in the past. Delightfully artistic, outrageously eclectic, and fiercely unique, The Complex destroys the mold of the typical studio and laughs over the broken pieces.\u003c/p>\n\u003cp>The building is a six story glorified warehouse in SOMA, situated in an alleyway that is much more a remnant of Brooklyn than San Francisco. “I believe they shot part of the \u003ci>Rent\u003c/i> movie on this street,” George Rosenthal throws in off-handedly during my recent visit. George is the proprietor of this up-and-coming studio, which is loaded with professional gear deposited amongst trinkets of every sort. It’s truly a monument to the strange and fantastic.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/07/georgecat.jpg\" width=\"218\" height=\"334\" alt=\"George Rosenthal and cat\" class>\u003cfigcaption class=\"wp-caption-text\">George Rosenthal and cat\u003c/figcaption>\u003c/figure>\n\u003cp>George’s father, Henry Rosenthal, is a well-known indie film producer, having such credits as \u003ci>The Devil and Daniel Johnston\u003c/i> to his name. “Growing up I was exposed to him working on his movies,” George explains in the second floor control room of the studio. “I have several childhood memories of going on set and learning the process of filmmaking.” While his father focused more on the business side of the industry, what really interested George was the technical aspect of these films. He diverged slightly from his heritage to become an unabashed tech-geek.\u003c/p>\n\u003cp>George was always encouraged while growing up to learn an instrument, but nothing stuck for him until he began playing guitar in conjunction with learning GarageBand. He cites that the interplay between playing and recording was always central to his music appreciation. “Early on I acknowledged the fact that the production of a song plays in massively to the audience’s appreciation,” he recalls.\u003c/p>\n\u003cp>As George continued stacking the stones of recording knowledge, he began to understand the two-sided coin that is home recording. He informs me, “GarageBand shows you that it’s not hard to record yourself, but it’s hard to record yourself well.” George spent his high school years digging around the Internet, learning about how to trick a home recording into sounding more professional.\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\" src=\"http://a.s.kqed.net/img/arts/blog/thecomplex1.jpg\" width=\"500\" height=\"750\" alt=\"The Complex 1\" class=\"aligncenter\">\u003c/p>\n\u003ch2>From Corporate America to Small Business Owner\u003c/h2>\n\u003cp>During George’s senior year of high school at San Francisco’s \u003ca href=\"http://www.sfsota.org/sota.cfm\">School Of The Arts\u003c/a>, he was required to intern at a local film and media company. His father had recently been introduced to Travis Threlkel, Chief Creative Officer of \u003ca href=\"http://www.obscuradigital.com/about/\">Obscura Digital\u003c/a> (and an “insane video concept wizard,” according to George), who lived a few doors down from The Complex.\u003c/p>\n\u003cp>The talented and eccentric Threlkel gave George an internship that year, and promptly hired him as a paid employee upon his graduation. “Soon after, I discovered everyone at the company was either a musician or audio engineer,” reflects George. “It was a really family oriented company, and everyone was super happy to teach me more of the technical aspects.”\u003c/p>\n\u003cp>George was employed at Obscura Digital for seven years, working on numerous \u003ca href=\"http://www.obscuradigital.com/work/\">extraordinary projects\u003c/a> and using his corporate paycheck to stockpile the recording gear that would eventually become The Complex. Last April, he came to the conclusion that, if he wanted to, he could make the studio a business that could support him and anyone else that wants to work with him to build its brand. He left Obscura Digital to focus full time on what has always been his ultimate passion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thecomplex2.jpg\" width=\"500\" height=\"333\" alt=\"The complex 2\" class=\"alignright\">\u003c/p>\n\u003ch2>The Draw Of The Complex\u003c/h2>\n\u003cp>The space between a \u003ci>project\u003c/i> studio and a \u003ci>professional\u003c/i> studio can be enigmatic, but George hopes The Complex can make a home for itself in this buffer zone. “I noticed really early on that the cost of recording is prohibitive,” he points out. “My perception from the beginning was that if I could figure out how to do a really good home recording it would open up possibilities to a lot of people.”\u003c/p>\n\u003cp>The Complex is much more than a home recording studio, but it maintains the charm and comfort that such a space tends to exude. With obscure — even homemade — instruments and amplifiers, an inflatable raft turned lounging area, a cherry-red Oldsmobile in the corner, and a disco ball overhead, the space is seeping with creativity. For just a little while, at least, a musician can take his or her mind off professional hassles and focus on a project.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The real value-add is that artists can emerge from a session at The Complex with a completed record and high quality video documenting the process, which can be used as promotional material. The photogenic surroundings provide for visually appealing video content, and the relaxed and creative environment leads to inspired performances. At a cost well below the industry standard, what more can a band ask for?\u003c/p>\n\u003ch2>What The Future Holds\u003c/h2>\n\u003cp>“I don’t want to be trapped in San Francisco the rest of my life,” George confesses. He has no qualms about dreaming big. “I think it’d be super cool to have a series of studios that all have this basic core concept of providing affordable and fun recording.” With more and more bands being forced to finance their own albums, an army of studios providing low cost recording plus video content doesn’t seem that far-fetched.\u003c/p>\n\u003cp>For \u003ca href=\"http://thecomplex-sf.com/\">more information\u003c/a> about The Complex, visit the thecomplex-sf.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images by T.J. Mimbs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: March 2014",
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"content": "\u003cp>With South by Southwest luring over one thousand bands to Austin later this month, it’s indie music touring season. While that means plenty of locals are already on the road, it also means some exciting opportunities to see buzzed-about out-of-town acts without taking a flight to Texas. Those acts include UK producer \u003ca href=\"https://www.facebook.com/forestswords\">Forest Swords\u003c/a>, touring around SXSW with like-minded electronic R&B act How to Dress Well. They are joined by the Syracuse punk band \u003ca href=\"http://perfectpussyband.tumblr.com/\">Perfect Pussy\u003c/a>, whose debut LP \u003cem>Say Yes To Love\u003c/em> arrives on March 18.\u003c/p>\n\u003cp>Closer to home, \u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a>‘s, \u003cem>Awake\u003c/em>, comes out later this month. It’s Scott Hansen’s first album in three years; in the interim, the instrumental rock musician has amassed a wide following, as evidenced by his sold-out Fillmore show in March. Meanwhile, Amnesia continues its great Tuesday residency series with the weekly two-fer of Cool Ghouls and SF psych trio \u003ca href=\"https://www.facebook.com/cellardoorsinstereo\">Cellar Doors\u003c/a>, who have been working on a full length album. Finally, we’d be remiss in not acknowledging a bittersweet local show, the final SF performance of psych-Americana outsider \u003ca href=\"https://www.facebook.com/markmatososbeaches\">Mark Matos & Os Beaches\u003c/a> before Matos moves to Joshua Tree.\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>\u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\">Bart Davenport\u003c/a> — “Dust in the Circuits”\u003cbr>\nDanny James, Anna Hillburg support Davenport on March 21 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a> — “Montana”\u003cbr>\nHeadlining \u003ca href=\"http://thefillmore.com/\">The Fillmore\u003c/a> on March 20 in celebration of the release of \u003cem>Awake\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/YellowOstrich\">Yellow Ostrich\u003c/a> — “Shades”\u003cbr>\nThe band’s tour with Pattern Is Movement arrives at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.FCLkq1Kj.dpbs\">Bottom of the Hill\u003c/a> on March 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cellardoorsinstereo\">Cellar Doors\u003c/a> — “Lies”\u003cbr>\nPlaying a Tuesday night residency with Cool Ghouls at \u003ca href=\"http://amnesiathebar.com/newp/\">Amnesia\u003c/a> in March.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/forestswords\">Forest Swords\u003c/a> — “The Weight Of Gold”\u003cbr>\nOn March 17, Matthew Barnes’ Forest Swords co-headlines \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with How to Dress Well.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/St.Vincent\">St. Vincent\u003c/a> — “Birth in Reverse”\u003cbr>\nComing to the \u003ca href=\"http://www.thefoxoakland.com/calendar.php\">Fox Theater\u003c/a> on March 22 with Noveller.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/splitscreensmusic\">Split Screens\u003c/a> — “Close Your Eyes”\u003cbr>\nReleasing a new 7″ on March 22 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.FCLkq1Kj.dpbs\">Bottom of the Hill\u003c/a>; DonCat and Scary Little Friends also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PurlingHiss\">Purling Hiss\u003c/a> — “Lolita”\u003cbr>\nThe band’s tour comes to the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on March 15 and \u003ca href=\"http://www.thenightlightoakland.com/\">The Night Light\u003c/a> on March 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DIRTYFENCES\">Dirty Fences\u003c/a> — “White Lies”\u003cbr>\nPerforming alongside Lecherous Gaze on March 22 at \u003ca href=\"https://www.facebook.com/events/520622081387214/\">Bender’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://perfectpussyband.tumblr.com/\">Perfect Pussy\u003c/a> — “I”\u003cbr>\nHeadlining a Bay Bridged-presented show at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 21; Wild Moth and Happy Diving support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.carsickcars.com/\">Carsick Cars\u003c/a> — “15 Minutes Older”\u003cbr>\nPlaying at \u003ca href=\"http://www.thenightlightoakland.com/\">The Night Light\u003c/a> on March 11 and the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 12.\u003c/p>\n\u003cp>\u003ca href=\"http://www.mirahmusic.com/\">Mirah\u003c/a> — “Oxen Hope”\u003cbr>\nHeadlining the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 6 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on March 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Snowmine\">Snowmine\u003c/a> — “Rome”\u003cbr>\nPlaying on March 25 with Small Black and Yalls at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/markmatososbeaches\">Mark Matos & Os Beaches\u003c/a> — “Build Us A Fire”\u003cbr>\nPerforming his final show as a local resident at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 28.\u003c/p>\n\n",
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"excerpt": "Listen to \u003ci>The Bay Bridged\u003c/i> mix of bands playing the Bay Area in March 2014, including: Bart Davenport, Cellar Doors, Carsick Cars, Mirah, Perfect Pussy and more.",
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"description": "Listen to The Bay Bridged mix of bands playing the Bay Area in March 2014, including: Bart Davenport, Cellar Doors, Carsick Cars, Mirah, Perfect Pussy and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With South by Southwest luring over one thousand bands to Austin later this month, it’s indie music touring season. While that means plenty of locals are already on the road, it also means some exciting opportunities to see buzzed-about out-of-town acts without taking a flight to Texas. Those acts include UK producer \u003ca href=\"https://www.facebook.com/forestswords\">Forest Swords\u003c/a>, touring around SXSW with like-minded electronic R&B act How to Dress Well. They are joined by the Syracuse punk band \u003ca href=\"http://perfectpussyband.tumblr.com/\">Perfect Pussy\u003c/a>, whose debut LP \u003cem>Say Yes To Love\u003c/em> arrives on March 18.\u003c/p>\n\u003cp>Closer to home, \u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a>‘s, \u003cem>Awake\u003c/em>, comes out later this month. It’s Scott Hansen’s first album in three years; in the interim, the instrumental rock musician has amassed a wide following, as evidenced by his sold-out Fillmore show in March. Meanwhile, Amnesia continues its great Tuesday residency series with the weekly two-fer of Cool Ghouls and SF psych trio \u003ca href=\"https://www.facebook.com/cellardoorsinstereo\">Cellar Doors\u003c/a>, who have been working on a full length album. Finally, we’d be remiss in not acknowledging a bittersweet local show, the final SF performance of psych-Americana outsider \u003ca href=\"https://www.facebook.com/markmatososbeaches\">Mark Matos & Os Beaches\u003c/a> before Matos moves to Joshua Tree.\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>\u003ca href=\"https://www.facebook.com/pages/Bart-Davenport-Music/190132134341791\">Bart Davenport\u003c/a> — “Dust in the Circuits”\u003cbr>\nDanny James, Anna Hillburg support Davenport on March 21 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\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/tychomusic\">Tycho\u003c/a> — “Montana”\u003cbr>\nHeadlining \u003ca href=\"http://thefillmore.com/\">The Fillmore\u003c/a> on March 20 in celebration of the release of \u003cem>Awake\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/YellowOstrich\">Yellow Ostrich\u003c/a> — “Shades”\u003cbr>\nThe band’s tour with Pattern Is Movement arrives at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.FCLkq1Kj.dpbs\">Bottom of the Hill\u003c/a> on March 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cellardoorsinstereo\">Cellar Doors\u003c/a> — “Lies”\u003cbr>\nPlaying a Tuesday night residency with Cool Ghouls at \u003ca href=\"http://amnesiathebar.com/newp/\">Amnesia\u003c/a> in March.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/forestswords\">Forest Swords\u003c/a> — “The Weight Of Gold”\u003cbr>\nOn March 17, Matthew Barnes’ Forest Swords co-headlines \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with How to Dress Well.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/St.Vincent\">St. Vincent\u003c/a> — “Birth in Reverse”\u003cbr>\nComing to the \u003ca href=\"http://www.thefoxoakland.com/calendar.php\">Fox Theater\u003c/a> on March 22 with Noveller.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/splitscreensmusic\">Split Screens\u003c/a> — “Close Your Eyes”\u003cbr>\nReleasing a new 7″ on March 22 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.FCLkq1Kj.dpbs\">Bottom of the Hill\u003c/a>; DonCat and Scary Little Friends also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PurlingHiss\">Purling Hiss\u003c/a> — “Lolita”\u003cbr>\nThe band’s tour comes to the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on March 15 and \u003ca href=\"http://www.thenightlightoakland.com/\">The Night Light\u003c/a> on March 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DIRTYFENCES\">Dirty Fences\u003c/a> — “White Lies”\u003cbr>\nPerforming alongside Lecherous Gaze on March 22 at \u003ca href=\"https://www.facebook.com/events/520622081387214/\">Bender’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://perfectpussyband.tumblr.com/\">Perfect Pussy\u003c/a> — “I”\u003cbr>\nHeadlining a Bay Bridged-presented show at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 21; Wild Moth and Happy Diving support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.carsickcars.com/\">Carsick Cars\u003c/a> — “15 Minutes Older”\u003cbr>\nPlaying at \u003ca href=\"http://www.thenightlightoakland.com/\">The Night Light\u003c/a> on March 11 and the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 12.\u003c/p>\n\u003cp>\u003ca href=\"http://www.mirahmusic.com/\">Mirah\u003c/a> — “Oxen Hope”\u003cbr>\nHeadlining the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 6 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on March 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Snowmine\">Snowmine\u003c/a> — “Rome”\u003cbr>\nPlaying on March 25 with Small Black and Yalls at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/markmatososbeaches\">Mark Matos & Os Beaches\u003c/a> — “Build Us A Fire”\u003cbr>\nPerforming his final show as a local resident at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 28.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "pacific-mambo-orchestra-scores-grammy-with-latin-big-band",
"title": "Pacific Mambo Orchestra Scores Grammy With Latin Big Band",
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"headTitle": "Pacific Mambo Orchestra Scores Grammy With Latin Big Band | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Pacific Mambo Orchestra’s February 28, 2014 interview and performance on KQED’s \u003ci>Forum\u003c/i>:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/02/20140228bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s odd to say that \u003ca href=\"http://www.pacificmambo.com/index/\">Pacific Mambo Orchestra\u003c/a> started small — after all, they are 19 members strong. But the band shocked the Latin music world this year when, without a national record deal, it managed to upset \u003ca href=\"http://www.marcanthonyonline.com/\">Marc Anthony\u003c/a> and two other Sony Music Latin acts and win the Grammy for the Best Tropical Latin Album.\u003c/p>\n\u003cp>Pacific Mambo Orchestra was started by two Bay Area musicians, pianist Christian Tumalan and trumpeter Steffen Kuehn, who saw a void on the Latin music scene — big bands of the past. “A lot of people were sort of craving this sound,” said Tumalan during a \u003ca href=\"http://www.kqed.org/a/forum/R201402281000\">recent interview\u003c/a> on KQED’s \u003ci>Forum\u003c/i>. “They have been listening on the radio and in the club scene to a lot of different types of salsa. But this particular sound, people were craving the return of that.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>It was with the bands of \u003ca href=\"http://www.npr.org/2008/12/10/98051981/tito-puente-el-rey\">Tito Puente\u003c/a> and \u003ca href=\"http://jazz.about.com/od/latinjazz/p/Machito.htm\">Machito\u003c/a> in mind, that Kuehn and Tumalan put the call out to Bay Area musicians. According to the two, finding and organizing the talent wasn’t hard. But paying them was.\u003c/p>\n\u003cp>“The challenge was to keep the band playing regularly,” said Tumalan. “It’s a financial challenge to keep a band of this size happening, but we have the support of every single musician.” Tumalan recalled not being able to pay his sizeable band in its nascent days, but said that from the beginning, the band members “were there literally for the love of this art form, which is big band for the Latin [sound].”\u003c/p>\n\u003cfigure id=\"attachment_128469\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo2.jpg\" alt=\"Christian Tumalan and Steffen Kuehn talk with Forum host Rachael Myrow\" width=\"500\" height=\"281\" class=\"size-full wp-image-128469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christian Tumalan and Steffen Kuehn talk with Forum host Rachael Myrow\u003c/figcaption>\u003c/figure>\n\u003cp>That love is evident during the band’s performances — at a March 1 show at San Rafael’s \u003ca href=\"http://www.terrapincrossroads.net/\">Terrapin Crossroads\u003c/a>, band members congratulated one another after solos; Tumulan teased audience members; and well into the second set, when audience energy started to drag, percussionists Javier Cabanillas, Braulio Barrera and Omar Ledezma Jr. stood up and started kicking \u003ca href=\"http://www.youtube.com/watch?v=eZSlgMTi4tw\">Rockettes\u003c/a>-style all the while maintaining their incredibly tight beat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The kick-line may be something that the band developed during their recent national tour. Kuehn recalled one specific show in Carmel, Indiana: “Up to that point, we really hadn’t played any concerts in that sense. We played the clubs, we played the festivals where we feed off the energy of the dancers. All of a sudden that was not there anymore, so it had to be 100 percent coming from us to the audience, instead of a back and forth between dancers, audience and the musicians.” Much to their credit, during the Terrapin Crossroads show Pacific Mambo was as welcoming to the khaki–clad awkward swayers in the back of the room as they were to the salsa dancers feverishly turning in front of the stage.\u003c/p>\n\u003cfigure id=\"attachment_128471\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo6401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo6401.jpg\" alt=\"Pacific Mambo Orchestra performs on KQED Forum.\" width=\"640\" height=\"640\" class=\"size-full wp-image-128471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra performs on KQED Forum.\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehn and Tumulan said that the Grammy win has generated more than buzz — CD sales and album downloads are up — and many of the band’s members, who double as music educators, say the win has inspired their students and fellow musicians.\u003c/p>\n\u003cp>“Because we have such a close knit community,” said Kuehn, “with not just musicians, but with dancers and friends and family support — it’s bigger than us. It’s basically like the Bay Area is standing behind us.”\u003c/p>\n\u003cp>When asked how Pacific Mambo managed to rise above the legions of other talented musicians and get noticed, Kuehn and Tumalan credit the musicianship of their band, community support and a bit of the unknown. “It’s an open question still. ‘Why us?'” said Kuehn. “I think we tapped into some form of energy that guided us through these past few years. I cannot explain it any other way, because there are a million musicians out there who strive for the same thing.”\u003c/p>\n\u003cp>Audiences who have seen Pacific Mambo perform live may be able to fill-in some of the mystery — a return to class, to showmanship, and to the joy of music. Indeed, a Pacific Mambo show is a workshop in live performance. During their Grammy acceptance speech, Tumalan exalted “The mambo is back and it’s back to stay!” One can only hope that he’s right.\u003c/p>\n\u003cp>Pacific Mambo Orchestra returns to the Cafe Cocomo in San Francisco on March 22, 2014, to celebrate its Grammy win. It’s a more-than-fitting spot, given Cocomo was the band’s first steady gig. For \u003ca href=\"http://www.cafecocomo.com/\">more information\u003c/a> visit cafecocomo.com.\u003c/p>\n\u003cp>Listen to four tracks from Pacific Mambo Orchestra’s Friday, February 28 appears on \u003ci>Forum\u003c/i>:\u003c/p>\n\u003cp>https://soundcloud.com/kqedforum/pacific-mambo-orchestra-plays?in=kqedforum/sets/pacific-mambo-orchestra-plays\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" width=\"125\">\u003cbr>\n \u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n",
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"excerpt": "Fresh from a Grammy win for Best Tropical Latin Album, local 19-piece Pacific Mambo Orchestra joins KQED's \u003ci>Forum\u003c/i> to discuss their local history and the return of the big band Latin sound.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Pacific Mambo Orchestra’s February 28, 2014 interview and performance on KQED’s \u003ci>Forum\u003c/i>:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/02/20140228bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s odd to say that \u003ca href=\"http://www.pacificmambo.com/index/\">Pacific Mambo Orchestra\u003c/a> started small — after all, they are 19 members strong. But the band shocked the Latin music world this year when, without a national record deal, it managed to upset \u003ca href=\"http://www.marcanthonyonline.com/\">Marc Anthony\u003c/a> and two other Sony Music Latin acts and win the Grammy for the Best Tropical Latin Album.\u003c/p>\n\u003cp>Pacific Mambo Orchestra was started by two Bay Area musicians, pianist Christian Tumalan and trumpeter Steffen Kuehn, who saw a void on the Latin music scene — big bands of the past. “A lot of people were sort of craving this sound,” said Tumalan during a \u003ca href=\"http://www.kqed.org/a/forum/R201402281000\">recent interview\u003c/a> on KQED’s \u003ci>Forum\u003c/i>. “They have been listening on the radio and in the club scene to a lot of different types of salsa. But this particular sound, people were craving the return of that.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>It was with the bands of \u003ca href=\"http://www.npr.org/2008/12/10/98051981/tito-puente-el-rey\">Tito Puente\u003c/a> and \u003ca href=\"http://jazz.about.com/od/latinjazz/p/Machito.htm\">Machito\u003c/a> in mind, that Kuehn and Tumalan put the call out to Bay Area musicians. According to the two, finding and organizing the talent wasn’t hard. But paying them was.\u003c/p>\n\u003cp>“The challenge was to keep the band playing regularly,” said Tumalan. “It’s a financial challenge to keep a band of this size happening, but we have the support of every single musician.” Tumalan recalled not being able to pay his sizeable band in its nascent days, but said that from the beginning, the band members “were there literally for the love of this art form, which is big band for the Latin [sound].”\u003c/p>\n\u003cfigure id=\"attachment_128469\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo2.jpg\" alt=\"Christian Tumalan and Steffen Kuehn talk with Forum host Rachael Myrow\" width=\"500\" height=\"281\" class=\"size-full wp-image-128469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christian Tumalan and Steffen Kuehn talk with Forum host Rachael Myrow\u003c/figcaption>\u003c/figure>\n\u003cp>That love is evident during the band’s performances — at a March 1 show at San Rafael’s \u003ca href=\"http://www.terrapincrossroads.net/\">Terrapin Crossroads\u003c/a>, band members congratulated one another after solos; Tumulan teased audience members; and well into the second set, when audience energy started to drag, percussionists Javier Cabanillas, Braulio Barrera and Omar Ledezma Jr. stood up and started kicking \u003ca href=\"http://www.youtube.com/watch?v=eZSlgMTi4tw\">Rockettes\u003c/a>-style all the while maintaining their incredibly tight beat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The kick-line may be something that the band developed during their recent national tour. Kuehn recalled one specific show in Carmel, Indiana: “Up to that point, we really hadn’t played any concerts in that sense. We played the clubs, we played the festivals where we feed off the energy of the dancers. All of a sudden that was not there anymore, so it had to be 100 percent coming from us to the audience, instead of a back and forth between dancers, audience and the musicians.” Much to their credit, during the Terrapin Crossroads show Pacific Mambo was as welcoming to the khaki–clad awkward swayers in the back of the room as they were to the salsa dancers feverishly turning in front of the stage.\u003c/p>\n\u003cfigure id=\"attachment_128471\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo6401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/forumpmo6401.jpg\" alt=\"Pacific Mambo Orchestra performs on KQED Forum.\" width=\"640\" height=\"640\" class=\"size-full wp-image-128471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/forumpmo6401-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra performs on KQED Forum.\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehn and Tumulan said that the Grammy win has generated more than buzz — CD sales and album downloads are up — and many of the band’s members, who double as music educators, say the win has inspired their students and fellow musicians.\u003c/p>\n\u003cp>“Because we have such a close knit community,” said Kuehn, “with not just musicians, but with dancers and friends and family support — it’s bigger than us. It’s basically like the Bay Area is standing behind us.”\u003c/p>\n\u003cp>When asked how Pacific Mambo managed to rise above the legions of other talented musicians and get noticed, Kuehn and Tumalan credit the musicianship of their band, community support and a bit of the unknown. “It’s an open question still. ‘Why us?'” said Kuehn. “I think we tapped into some form of energy that guided us through these past few years. I cannot explain it any other way, because there are a million musicians out there who strive for the same thing.”\u003c/p>\n\u003cp>Audiences who have seen Pacific Mambo perform live may be able to fill-in some of the mystery — a return to class, to showmanship, and to the joy of music. Indeed, a Pacific Mambo show is a workshop in live performance. During their Grammy acceptance speech, Tumalan exalted “The mambo is back and it’s back to stay!” One can only hope that he’s right.\u003c/p>\n\u003cp>Pacific Mambo Orchestra returns to the Cafe Cocomo in San Francisco on March 22, 2014, to celebrate its Grammy win. It’s a more-than-fitting spot, given Cocomo was the band’s first steady gig. For \u003ca href=\"http://www.cafecocomo.com/\">more information\u003c/a> visit cafecocomo.com.\u003c/p>\n\u003cp>Listen to four tracks from Pacific Mambo Orchestra’s Friday, February 28 appears on \u003ci>Forum\u003c/i>:\u003c/p>\n\u003cp>https://soundcloud.com/kqedforum/pacific-mambo-orchestra-plays?in=kqedforum/sets/pacific-mambo-orchestra-plays\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" width=\"125\">\u003cbr>\n \u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lavay Smith Celebrates Legendary Divas at SFJAZZ",
"headTitle": "Lavay Smith Celebrates Legendary Divas at SFJAZZ | KQED",
"content": "\u003cp>With her 1000-watt smile, bluesy come-hither vocals and playfully lascivious stage persona, Lavay Smith isn’t likely to be mistaken for any other singer. While she was a leading force in the dance-inducing swing music revival of the 1990s, interpreting West Coast jump blues, Kansas City swing, and Depression-era torch songs, she never trafficked in nostalgia. Most of her peers on the swing bandwagon have long since faded from view, but Smith is still going strong because she continually finds tunes ripe for blues-inflected interpretation, whether exploring the songbooks of Duke Ellington or Patsy Cline. Backed by her potent Red Hot Skillet Lickers, featuring pianist and arranger Chris Siebert, bassist Ron Belcher, drummer Howard Wiley, trombonist Danny Armstrong and saxophone great Jules Broussard, Smith extends the celebration of Black History Month for another week with a four-night run at the SFJAZZ Center’s Joe Henderson Lab, where she’ll explore material associated with blues great Bessie Smith, jazz legend Billie Holiday, R&B queen Etta James, and the inimitable jazz diva Sarah Vaughan on successive nights.\u003c/p>\n\u003cp>“It’s not so much a tribute,” Smith says from her Mission District apartment. “I’m not coming out to imitate these legendary artists. These are the singers who taught me the songs I love. They inspired me to learn all these songs, and they taught me to find my own voice. Doing the research for these shows has been wonderful. I’ve been on lockdown just listening to albums for weeks and I don’t go out anymore. It’s like getting to dive into another world, like going to school and studying with the masters.”\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=LBFA5GvAA78&w=480&h=360]\u003c/p>\n\u003cp>\u003cb>\u003ci>The Music of Bessie Smith\u003c/i>, 7 & 8:30pm, Thursday, March 6, 2104\u003c/b>\u003c/p>\n\u003cp>“I always tell the story about how I was this really rebellious teen, and I was drawn to musicians like Joan Jett. I liked rabble-rousers, and when I first heard Bessie Smith I thought here’s the ultimate rebel. I was just knocked out. She was this great feminist. When I put her music on she still sounds fresh as this morning. She never sounds corny. She creates another time and place, but these themes haven’t changed. The rivalry between men and woman — we’re still singing and crying about it today. For years I listened to nothing but Bessie Smith, and she was my main influence. Jules has been so excited because I’m going to pull out “Nobody Knows You When You’re Down and Out,” which he likes to say captured the Great Depression as it was happening.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/02/lavaysmith1.jpg\" width=\"500\" height=\"752\" alt=\"Lavay Smith\" class>\u003cfigcaption class=\"wp-caption-text\">Lavay Smith\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>The Music of Billie Holiday\u003c/i>, 7 & 8:30pm, Friday, March 7\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No one can deliver a lyric better than Lady Day. When I was a teenager I bought a Billie Holiday record, \u003ci>(In My) Solitude\u003c/i> on Decca, and fell in love with it. I was more into early jazz and blues from the 1920s, but I just fell in love with her. And she loved Bessie Smith. I can show the lineage of Bessie to Billie. We’ll be doing all the songs she wrote: “Fine and Mellow,” “Don’t Explain,” “God Bless the Child.” Billie could take songs that were not really deep — “What A Little Moonlight Can Do” or “Them There Eyes” — and make standards out of anything. She made you believe everything she sang. Jules always says about her and Patsy, she knows how to recycle her pain.”\u003c/p>\n\u003cp>\u003cb>\u003ci>The Music of Etta James\u003c/i>, 7 & 8:30pm, Saturday, March 8\u003c/b>\u003c/p>\n\u003cp>“Etta is a much different singer than me and I’ve never really sung her music, so this is going to be a lot of new material. She was able to express things we all feel and just lay it out there. She’s so real. She never tried to conform to anything. All the Etta is new to me, but they’re so deep in my subconscious because she’s one of my favorite singers and I’ve been listening to her since I was a teen. Chris may play the organ on Etta. I think we’ll do some of the songs from her Billie Holiday album [the Grammy-winning 1993 \u003ci>Mystery Lady: Songs of Billie Holiday\u003c/i>]. Etta is so much out of Billie Holiday.”\u003c/p>\n\u003cp style=\"text-align: center\">[vimeo 8476697 w=480 h=270]\u003c/p>\n\u003cp>\u003cb>\u003ci>The Music of Sarah Vaughan\u003c/i>, 5:30 & 7pm, Sunday, March 9\u003c/b>\u003c/p>\n\u003cp>“When I’m checking out a singer, I always buy the early stuff first. I fell in love with all those songs she recorded on Columbia, songs that I don’t hear people singing: “Can’t Get Out of This Mood,” “Ooh What Cha Doin’ To Me,” and “Blues Serenade.” I always get drawn back to the Columbia and Musicraft years, the songs when Dizzy and Bird all fell in love with Sarah. I really feel so lucky to be able to celebrate the huge contribution of these African-American women who contributed so much to American and world culture. They have so much to teach us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lavay Smith and Her Red Hot Skillet Lickers play SFJazz March 6-9, 2014. For \u003ca href=\"https://www.sfjazz.org/events/season2/mar6-lavay-smith\">tickets and information\u003c/a>, visit sfjazz.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With her 1000-watt smile, bluesy come-hither vocals and playfully lascivious stage persona, Lavay Smith isn’t likely to be mistaken for any other singer. While she was a leading force in the dance-inducing swing music revival of the 1990s, interpreting West Coast jump blues, Kansas City swing, and Depression-era torch songs, she never trafficked in nostalgia. Most of her peers on the swing bandwagon have long since faded from view, but Smith is still going strong because she continually finds tunes ripe for blues-inflected interpretation, whether exploring the songbooks of Duke Ellington or Patsy Cline. Backed by her potent Red Hot Skillet Lickers, featuring pianist and arranger Chris Siebert, bassist Ron Belcher, drummer Howard Wiley, trombonist Danny Armstrong and saxophone great Jules Broussard, Smith extends the celebration of Black History Month for another week with a four-night run at the SFJAZZ Center’s Joe Henderson Lab, where she’ll explore material associated with blues great Bessie Smith, jazz legend Billie Holiday, R&B queen Etta James, and the inimitable jazz diva Sarah Vaughan on successive nights.\u003c/p>\n\u003cp>“It’s not so much a tribute,” Smith says from her Mission District apartment. “I’m not coming out to imitate these legendary artists. These are the singers who taught me the songs I love. They inspired me to learn all these songs, and they taught me to find my own voice. Doing the research for these shows has been wonderful. I’ve been on lockdown just listening to albums for weeks and I don’t go out anymore. It’s like getting to dive into another world, like going to school and studying with the masters.”\u003c/p>\n\u003cp style=\"text-align: center\">\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/LBFA5GvAA78'\n title='//www.youtube.com/embed/LBFA5GvAA78'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>The Music of Bessie Smith\u003c/i>, 7 & 8:30pm, Thursday, March 6, 2104\u003c/b>\u003c/p>\n\u003cp>“I always tell the story about how I was this really rebellious teen, and I was drawn to musicians like Joan Jett. I liked rabble-rousers, and when I first heard Bessie Smith I thought here’s the ultimate rebel. I was just knocked out. She was this great feminist. When I put her music on she still sounds fresh as this morning. She never sounds corny. She creates another time and place, but these themes haven’t changed. The rivalry between men and woman — we’re still singing and crying about it today. For years I listened to nothing but Bessie Smith, and she was my main influence. Jules has been so excited because I’m going to pull out “Nobody Knows You When You’re Down and Out,” which he likes to say captured the Great Depression as it was happening.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/02/lavaysmith1.jpg\" width=\"500\" height=\"752\" alt=\"Lavay Smith\" class>\u003cfigcaption class=\"wp-caption-text\">Lavay Smith\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>The Music of Billie Holiday\u003c/i>, 7 & 8:30pm, Friday, March 7\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No one can deliver a lyric better than Lady Day. When I was a teenager I bought a Billie Holiday record, \u003ci>(In My) Solitude\u003c/i> on Decca, and fell in love with it. I was more into early jazz and blues from the 1920s, but I just fell in love with her. And she loved Bessie Smith. I can show the lineage of Bessie to Billie. We’ll be doing all the songs she wrote: “Fine and Mellow,” “Don’t Explain,” “God Bless the Child.” Billie could take songs that were not really deep — “What A Little Moonlight Can Do” or “Them There Eyes” — and make standards out of anything. She made you believe everything she sang. Jules always says about her and Patsy, she knows how to recycle her pain.”\u003c/p>\n\u003cp>\u003cb>\u003ci>The Music of Etta James\u003c/i>, 7 & 8:30pm, Saturday, March 8\u003c/b>\u003c/p>\n\u003cp>“Etta is a much different singer than me and I’ve never really sung her music, so this is going to be a lot of new material. She was able to express things we all feel and just lay it out there. She’s so real. She never tried to conform to anything. All the Etta is new to me, but they’re so deep in my subconscious because she’s one of my favorite singers and I’ve been listening to her since I was a teen. Chris may play the organ on Etta. I think we’ll do some of the songs from her Billie Holiday album [the Grammy-winning 1993 \u003ci>Mystery Lady: Songs of Billie Holiday\u003c/i>]. Etta is so much out of Billie Holiday.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Track List:\u003c/b>\u003cbr>\n1. “Slow Down” — EMBRZ, \u003ci>EMBRZ\u003c/i>\u003cbr>\n2. “Passing Out Pieces” — Mac Demarco, \u003ci>Salad Days\u003c/i>\u003cbr>\n3. “Plastic Soul” — YACHT, Single\u003cbr>\n4. “Distance” — Emily King, Single\u003cbr>\n5. “Good Sex” — Kevin Drew, \u003ci>Darlings\u003c/i>\u003cbr>\n6. “Seasons (Waiting On You) ” — Future Islands, \u003ci>Singles\u003c/i>\u003cbr>\n7. “Chinese New Year” — SALES, Renee/Tonka Time 7″8. “Hot Tonight” — Tokyo Police Club, \u003ci>Forcefield\u003c/i>\u003cbr>\n9. “I’m Not Part of Me” — Cloud Nothings, \u003ci>Here and Nowhere Else\u003c/i>\u003cbr>\n10. “Forgiven/Forgotten” — Angel Olsen, \u003ci>Unfuck the World\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The California Report\u003c/i> story on zydeco musician Andre Thierry’s local history and efforts to pass the art form on to the next generation:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/02/BayAreaZydeco.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>When you hear the lilting accordion strains that help define zydeco music you may be transported to Louisiana, where the tradition began. But Northern California has its own zydeco scene that dates back to World War II and the Creole migrants who came to work in the shipyards.\u003c/p>\n\u003cp>New Orleans is already gearing up for Fat Tuesday next week. Zydeco lovers in the Bay Area have also been celebrating. Local musician \u003ca href=\"http://andrethierry.com/\">Andre Thierry\u003c/a> is one of the few zydeco performers outside Louisiana who is considered a master of the art form. Thierry says he has been playing accordion for almost 25 years, since he was nine or 10 years old. In that time he has recorded seven albums and toured around the United States with his band.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Thierry grew up in Richmond’s vibrant Creole community, where his grandparents booked bands from Louisiana and brought them out to play at St. Mark Parish Church, in Richmond.\u003c/p>\n\u003cp>Thierry not only had front row seats to shows by zydeco greats like \u003ca href=\"http://www.bluesworld.com/BooZoo.html\">Boozoo Chavis\u003c/a> and the king of zydeco, \u003ca href=\"http://www.arhoolie.com/clifton-chenier-en/\">Clifton Chenier\u003c/a>. But because the musicians often stayed at his grandparents’ house, Thierry grew up literally sitting on the laps of giants in the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says he was too young to remember, but many people have told him that Chenier took a look at the boy’s long arms and predicted Thierry would be a great accordion player.\u003c/p>\n\u003cp>To Thiery, whose family always brought him along to church dances, zydeco didn’t always feel like his destiny. “First part of my life, I didn’t like the music,” Thiery recalls. “I just went to sleep. And then one night I went up to the stage and started watching the accordion player. And I fell in love with the accordion.”\u003c/p>\n\u003cfigure id=\"attachment_128476\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\" alt=\"Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \" width=\"500\" height=\"281\" class=\"size-full wp-image-128476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Thierry is the Grammy-nominated accordionist up on the stage at church dances throughout the area.\u003c/p>\n\u003cp>At a recent Mardi Gras celebration at St. Finn Barr Church in San Francisco’s Sunnyside neighborhood, people are on their feet, out on the floor almost from the first note. Sometimes the crowd joins in a line dance 20 rows deep. Other times people rotate through partners.\u003c/p>\n\u003cp>Organizer Alice Guidry says the tradition has roots in big weekend parties called yard dances that people held at their homes in New Orleans. “Every Saturday they’d rotate having a zydeco dance in different people’s yard,” Guidry recalls.\u003c/p>\n\u003cp>Guidry says St. Finn Barr is home to a vibrant Creole community. That community includes Tai Coleman, who was born and raised in San Francisco but whose grandparents migrated here from New Orleans. Coleman points to the diversity on the dance floor, which, he says, reflects how welcoming the community is.\u003c/p>\n\u003cp>It’s also a sign of the rich cultural history of zydeco music. People who identify as Creole trace their roots to African, French, Spanish and Native American ancestors.\u003c/p>\n\u003cp>Coleman says he’s here with his wife, whose parents came from Nicaragua and Colombia. He says she was amazed to find the zydeco style of dance familiar, with similarities to the Latin American partner dances she grew up with. That’s the Spanish element of the culture, Coleman says — just as jambalaya has its origins in the Spanish rice dish paella.\u003c/p>\n\u003cfigure id=\"attachment_128477\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\" alt=\"Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry's long arms and predicted he would be an accordion great.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry’s long arms and predicted he would be an accordion great. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coleman says he recognizes that the local community’s connection to its elders is fading. “A lot of those folks have died off, they’ve moved on. They didn’t really pass it on to their kids — like me — the way they should have,” says Coleman. “But with festivities like this you get other people involved.”\u003c/p>\n\u003cp>Andre Thierry agrees the scene is in transition. Northern California’s largely white folk-music scene became interested in zydeco during the ’80s and ’90s, bringing in a new group of adherents. “My grandma used to say it was young hippie kids who got into it. Now they’re the older heads in it,” says Thierry. “So right now they are the elders and we’re just trying to get more younger people in it.”\u003c/p>\n\u003cfigure id=\"attachment_128478\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\" alt=\"Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\u003c/figcaption>\u003c/figure>\n\u003cp>So for the past two years, Thierry has been working with a group of five boys, ages seven to nine, in Marin City through the program \u003ca href=\"http://www.performingstars.org/\">Performing Stars\u003c/a>.\u003c/p>\n\u003cp>On a recent day, Thierry shows up to the after-school class with new miniature accordions. He starts by drilling a few of the kids on dance rhythms. He plays a two-step rhythm and then the waltz beat, asking them to identify each one. They shout out the answers excitedly before moving on to play the beats themselves on snare drums and rub boards.\u003c/p>\n\u003cp>At the end of class, Thierry plays accordion while the boys accompany him on the drums and the rub board, a zydeco version of the washboard.\u003c/p>\n\u003cp>None of the boys come from Creole backgrounds, and when asked what kind of music they listen to at home, the answer is hip hop and R&B. Still they named themselves the Zydeco Boys and are full of enthusiasm. On stage at St. Finn Barr’s Mardi Gras dance, organizer Alice Guidry introduces them, and the boys bound up from the audience clutching snare drums and rub boards. They accompany Thierry for a waltz and a two-step. After the crowd applauds and hollers, they head backstage to pack up their instruments.\u003c/p>\n\u003cp>Thierry says despite the area’s relatively strong zydeco scene, it can’t touch Louisiana, where top zydeco performers are superstars. When he plays at venues that aren’t exclusively zydeco-oriented here, he says he sometimes feels people’s skepticism at first.\u003c/p>\n\u003cp>“You can tell when they see an accordion and a washboard walk in the building, some people are smirking and rolling their eyes,” Thierry says. “But when the music starts you get their attention.”\u003c/p>\n\u003cp>Thierry’s goal is to get as many peoples’ attention as possible. In March he has a busy schedule — including Mardi Gras performances around the region and an East Coast tour. This fall he’s organizing the Second Annual Creole United Festival in Sausalito.\u003c/p>\n\u003cp>“Whenever people hear [the music] they fall in love with it,” says Thierry. His mission to get people to hear zydeco probably means a lot of playing on his part. But his smile as he plays alongside the Zydeco Boys shows that’s the last thing he’s worried about.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" width=\"125\">\u003cbr>\n \u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The California Report\u003c/i> story on zydeco musician Andre Thierry’s local history and efforts to pass the art form on to the next generation:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/02/BayAreaZydeco.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>When you hear the lilting accordion strains that help define zydeco music you may be transported to Louisiana, where the tradition began. But Northern California has its own zydeco scene that dates back to World War II and the Creole migrants who came to work in the shipyards.\u003c/p>\n\u003cp>New Orleans is already gearing up for Fat Tuesday next week. Zydeco lovers in the Bay Area have also been celebrating. Local musician \u003ca href=\"http://andrethierry.com/\">Andre Thierry\u003c/a> is one of the few zydeco performers outside Louisiana who is considered a master of the art form. Thierry says he has been playing accordion for almost 25 years, since he was nine or 10 years old. In that time he has recorded seven albums and toured around the United States with his band.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Thierry grew up in Richmond’s vibrant Creole community, where his grandparents booked bands from Louisiana and brought them out to play at St. Mark Parish Church, in Richmond.\u003c/p>\n\u003cp>Thierry not only had front row seats to shows by zydeco greats like \u003ca href=\"http://www.bluesworld.com/BooZoo.html\">Boozoo Chavis\u003c/a> and the king of zydeco, \u003ca href=\"http://www.arhoolie.com/clifton-chenier-en/\">Clifton Chenier\u003c/a>. But because the musicians often stayed at his grandparents’ house, Thierry grew up literally sitting on the laps of giants in the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says he was too young to remember, but many people have told him that Chenier took a look at the boy’s long arms and predicted Thierry would be a great accordion player.\u003c/p>\n\u003cp>To Thiery, whose family always brought him along to church dances, zydeco didn’t always feel like his destiny. “First part of my life, I didn’t like the music,” Thiery recalls. “I just went to sleep. And then one night I went up to the stage and started watching the accordion player. And I fell in love with the accordion.”\u003c/p>\n\u003cfigure id=\"attachment_128476\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry1.jpg\" alt=\"Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \" width=\"500\" height=\"281\" class=\"size-full wp-image-128476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry1-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cajun dancers step to a line dance at St. Paul of the Shipwreck Church in San Francisco. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Thierry is the Grammy-nominated accordionist up on the stage at church dances throughout the area.\u003c/p>\n\u003cp>At a recent Mardi Gras celebration at St. Finn Barr Church in San Francisco’s Sunnyside neighborhood, people are on their feet, out on the floor almost from the first note. Sometimes the crowd joins in a line dance 20 rows deep. Other times people rotate through partners.\u003c/p>\n\u003cp>Organizer Alice Guidry says the tradition has roots in big weekend parties called yard dances that people held at their homes in New Orleans. “Every Saturday they’d rotate having a zydeco dance in different people’s yard,” Guidry recalls.\u003c/p>\n\u003cp>Guidry says St. Finn Barr is home to a vibrant Creole community. That community includes Tai Coleman, who was born and raised in San Francisco but whose grandparents migrated here from New Orleans. Coleman points to the diversity on the dance floor, which, he says, reflects how welcoming the community is.\u003c/p>\n\u003cp>It’s also a sign of the rich cultural history of zydeco music. People who identify as Creole trace their roots to African, French, Spanish and Native American ancestors.\u003c/p>\n\u003cp>Coleman says he’s here with his wife, whose parents came from Nicaragua and Colombia. He says she was amazed to find the zydeco style of dance familiar, with similarities to the Latin American partner dances she grew up with. That’s the Spanish element of the culture, Coleman says — just as jambalaya has its origins in the Spanish rice dish paella.\u003c/p>\n\u003cfigure id=\"attachment_128477\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry3.jpg\" alt=\"Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry's long arms and predicted he would be an accordion great.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family legend has it that the king of zydeco, Clifton Chenier, saw the very young Thierry’s long arms and predicted he would be an accordion great. \u003ccite>(Deanne Fitzmaurice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coleman says he recognizes that the local community’s connection to its elders is fading. “A lot of those folks have died off, they’ve moved on. They didn’t really pass it on to their kids — like me — the way they should have,” says Coleman. “But with festivities like this you get other people involved.”\u003c/p>\n\u003cp>Andre Thierry agrees the scene is in transition. Northern California’s largely white folk-music scene became interested in zydeco during the ’80s and ’90s, bringing in a new group of adherents. “My grandma used to say it was young hippie kids who got into it. Now they’re the older heads in it,” says Thierry. “So right now they are the elders and we’re just trying to get more younger people in it.”\u003c/p>\n\u003cfigure id=\"attachment_128478\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/thierry2.jpg\" alt=\"Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/thierry2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thierry brings the zydeco tradition to a new generation. Here, Nicholas Gardner, 7, learns drums.\u003c/figcaption>\u003c/figure>\n\u003cp>So for the past two years, Thierry has been working with a group of five boys, ages seven to nine, in Marin City through the program \u003ca href=\"http://www.performingstars.org/\">Performing Stars\u003c/a>.\u003c/p>\n\u003cp>On a recent day, Thierry shows up to the after-school class with new miniature accordions. He starts by drilling a few of the kids on dance rhythms. He plays a two-step rhythm and then the waltz beat, asking them to identify each one. They shout out the answers excitedly before moving on to play the beats themselves on snare drums and rub boards.\u003c/p>\n\u003cp>At the end of class, Thierry plays accordion while the boys accompany him on the drums and the rub board, a zydeco version of the washboard.\u003c/p>\n\u003cp>None of the boys come from Creole backgrounds, and when asked what kind of music they listen to at home, the answer is hip hop and R&B. Still they named themselves the Zydeco Boys and are full of enthusiasm. On stage at St. Finn Barr’s Mardi Gras dance, organizer Alice Guidry introduces them, and the boys bound up from the audience clutching snare drums and rub boards. They accompany Thierry for a waltz and a two-step. After the crowd applauds and hollers, they head backstage to pack up their instruments.\u003c/p>\n\u003cp>Thierry says despite the area’s relatively strong zydeco scene, it can’t touch Louisiana, where top zydeco performers are superstars. When he plays at venues that aren’t exclusively zydeco-oriented here, he says he sometimes feels people’s skepticism at first.\u003c/p>\n\u003cp>“You can tell when they see an accordion and a washboard walk in the building, some people are smirking and rolling their eyes,” Thierry says. “But when the music starts you get their attention.”\u003c/p>\n\u003cp>Thierry’s goal is to get as many peoples’ attention as possible. In March he has a busy schedule — including Mardi Gras performances around the region and an East Coast tour. This fall he’s organizing the Second Annual Creole United Festival in Sausalito.\u003c/p>\n\u003cp>“Whenever people hear [the music] they fall in love with it,” says Thierry. His mission to get people to hear zydeco probably means a lot of playing on his part. But his smile as he plays alongside the Zydeco Boys shows that’s the last thing he’s worried about.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As a fairly recent addition to the Bay Area, my opinion of the \u003ca href=\"http://schedule.noisepop.com/\">Noise Pop Festival\u003c/a> surely differs somewhat from that of seasoned veterans. Through my virgin eyes, Noise Pop appears to be a titan in the mythos of indie rock. While the festival is without a doubt appropriately appreciated by those who have been blessed to observe its ascension to notoriety, it holds legendary status in the hearts and minds of those lacking the liberty to attend year after year.\u003c/p>\n\u003cp>Prior to my recent relocation to SF, I spent a decade in Athens, GA, which can undoubtedly claim notoriety in the indie rock realm. And the fact that I spent so much time there instilled in me a certain understanding — almost entitlement — of the genre and the mindset. Even so, the accomplishments and innovations of Noise Pop are something even Athenians cannot deny. After all, its founders were the \u003ca href=\"http://www.npr.org/2012/06/14/155014576/the-mix-100-essential-noise-pop-songs\">first to use the namesake term\u003c/a> to describe the yin and yang of melody and dissonance so pivotal in modern indie rock.\u003c/p>\n\u003cp>Noise Pop shares the stage with festivals such as SXSW, as pioneers of the decentralized, city-encompassing music extravaganza. What sets it apart, though, is its roots in, and continuing focus on, the showcasing of local musicians and artists. The festival celebrates a music scene that cannot be contained by the city’s borders — one that is not only defined by its local artists but by those who grace its stages on tours throughout the country. Its organizers do a fantastic job of assimilating these two aspects into a sort of musical casserole.\u003c/p>\n\u003cp>This year Noise Pop will be introducing a new \u003ca href=\"http://schedule.noisepop.com/noisepophq\">Noise Pop Headquarters\u003c/a> as a centerpiece to the sprawling, boundless festival — another yin to a yang. I spoke to Dawson Ludwig, Noise Pop Industries’ General Manager, about this new expansion, the music business, Athens, synergy, and the meaning of the term “indie.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-dawsonludwig.jpg\" width=\"500\" height=\"333\" alt=\"Noise Pop Industries General Manager, Dawson Ludwig\" class>\u003cfigcaption class=\"wp-caption-text\">Noise Pop Industries General Manager, Dawson Ludwig\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The word “indie” gets thrown out a whole hell of a lot these days, and some people have no idea what it really means. What do you feel constitutes art as independent?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Dawson Ludwig:\u003c/b> We are an interesting festival in regard to the term “indie,” in large part because we’ve seen sort of the birth of it and the redefinition of it. In 1993, when the festival started, indie had a very specific definition. If you were “indie” music, some company other than one of the four major record labels specifically was distributing your records. As a lot of the smaller indie labels started signing deals with major labels, specifically distribution deals, that muddied the waters — because someone like \u003ca href=\"https://www.subpop.com/\">Sub Pop\u003c/a> or \u003ca href=\"http://merge-records.com/\">Merge\u003c/a> (quintessential indie record labels) now had some degree of partnership with a major. That in and of itself really shattered the strict definition that it was created under.\u003c/p>\n\u003cp>The term “indie,” similar to the word “alternative,” became a catch-all for things that are cool and things that are of a certain cultural relevance. The term has been co-opted to some degree; however, there is still this oddly, strangely defined culture that is truly an “independent” culture. Sometimes it doesn’t adhere as strictly as it used to in the early ’90s, but I think a lot of the artists — someone like Death Cab For Cutie, for instance, who is as major as major gets — they are categorically “independent.” I think that’s largely because of the progressiveness of what they’re doing as well as the aesthetic of what they’re doing. They hold onto that “indie” aesthetic even though they’re technically not independent.\u003c/p>\n\u003cp>\u003cb>So do you consider Noise Pop to be an indie festival?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah it is. In the same way that a band like Death Cab is considered an indie rock band, we are an indie rock festival — in large part because of the genre we champion as well as because we’ve been doing this for a while. We sort of walked the term “indie” from its inception to the really broad scope that it has now.\u003c/p>\n\u003cp>\u003cb>You took it through its teenage years…\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Or it took us — one or the other.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-kozelek.jpg\" width=\"500\" height=\"496\" alt=\"Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\" class>\u003cfigcaption class=\"wp-caption-text\">Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So, obviously there is a focus from Noise Pop on local bands. In Athens we had a music festival called \u003ca href=\"http://athfest.com/music-festival\">Athfest\u003c/a>, which is modeled after festivals such as SXSW and Noise Pop itself. Athfest has remained strictly a showcase for local talent… maybe a band from Atlanta to headline. What made you guys decide to introduce bigger national acts into the fold?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I think a lot of that was due to the state of the San Francisco music scene, which is something like Athens in that it’s a town that has an overwhelming amount of incredible talent. San Francisco is a little bit more of an international city, in regard to the music scene, and there’s more of an opportunity to capture bands on a national level and utilize that for the festival.\u003c/p>\n\u003cp>I think early on we were able to realize that a lot of this is celebrating the San Francisco music scene, and in order to do that we need to get people out into the clubs. In order to get people out into the clubs, they need a big name. The idea was to bring in a big name national act and get three bands, which is pretty unusual for a club night. Most clubs have one or two supporters. Our idea was to have three supporting acts that were really — from our perspective — the things that people needed to be checking out. Obviously it’s great to see Bright Eyes, for instance, but if [the crowd] shows up two hours early and catches the first three bands, then that’s really where our motive comes in. As the festival has gotten bigger and we’ve gotten larger names we’ve been able to really shine a brighter spotlight on some great local talent.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-lordhuron.jpg\" width=\"500\" height=\"310\" alt=\"Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\" class>\u003cfigcaption class=\"wp-caption-text\">Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are you guys often approached by concert promoters in other cities attempting to start up their own festivals or take existing festivals to the next level?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Absolutely. We’re often approached by venues in the city, to get them to be a part of Noise Pop. Noise Pop also has a private events service, and there have been times when other festivals have gotten in touch with us about how to optimize something or how to get in touch with artists. There’s an opportunity for us to share our expertise with people who are coming up in the same arena. It’s a crowded arena at this point, so there are a lot of people looking for advice.\u003c/p>\n\u003cp>\u003cb>In turn, do you guys often find yourselves seeking out advice from the organizers of other music festivals?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Sure. There’s definitely a dialogue that goes on between festivals. Noise Pop and Another Planet, for instance, partner together to do \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island\u003c/a> [Music Festival]. We also are in constant communication with someone like SXSW, where we’re actually doing a showcase this year. And our previous producer was one of the executive producers at \u003ca href=\"http://www.cmj.com/marathon/\">CMJ\u003c/a>. So that close-knit community creates a dialogue.\u003c/p>\n\u003cp>There are definitely some things that are shared and discussed on ways to optimize. Other areas can be held a little closer to the chest, basically because we are, at the same time, competitors. But we’re all friends and know that if one goes away then it hurts the industry. So we’re very supportive.\u003c/p>\n\u003cp>Something like \u003ca href=\"http://www.burningman.com/\">Burning Man\u003c/a> is also a good example. Burning Man is where a lot of festivals go to find art that you see at festivals all over the country. They use Burning Man as almost a sculpture gallery to see what artists are working on and how they can get them into the festival. That festival is a great example of synergy between all of us.\u003c/p>\n\u003cp>\u003cb>Synergy is such a great word. I feel like any time you can use “synergy” you just have to throw it out there.\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah! Absolutely — unless you’re in a business meeting and there’s someone who just realized how effective that word is and overuses it.\u003c/p>\n\u003cp>\u003cb>Obviously I’ve known of Burning Man and how influential it is, but I never realized how it functions as a sort of art gallery for other festivals. \u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah. Actually our art director for Treasure Island is a guy named Will Chase, who is one of the top guys at Burning Man.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-realestate.jpg\" width=\"500\" height=\"281\" alt=\"Real Estate play Noise Pop on Friday, 2/28 at The Independent\" class>\u003cfigcaption class=\"wp-caption-text\">Real Estate play Noise Pop on Friday, 2/28 at The Independent\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You guys are introducing a headquarters for this year’s festival. How do you think this will change the dynamic?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> One of the great things about Noise Pop is that people have experiences all over the city. It’s as much a festival about figuring out what bands you like as it is a tour of San Francisco venues. At the same time, that can create a lack of cohesive experience for people. So one of the things we are trying to do this year is create an opportunity for everyone to be able to, at some point throughout the week, come in and experience something together. That ranges from artists hanging out in this area to fans hanging out in this area. It’s really an opportunity for everyone to gather under one roof — either for happy hour and then going out into the night or experiencing a show at this place. It’s really a ground zero, for lack of a better term.\u003c/p>\n\u003cp>It’s one of those things that we wanted to introduce without taking away from that weird energy that comes when people just decide to gather in a certain place but also offer something that would help define it a little more.\u003c/p>\n\u003cp>\u003cb>What bands are you most excited about seeing this year?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> \u003ca href=\"http://talkingbackwards.realestatetheband.com/\">Real Estate\u003c/a> I think is probably my favorite band on [the schedule]. And their new record is unbelievable, too. \u003ca href=\"http://www.matthewdear.com/\">Matthew Dear\u003c/a> — his new project Audion is going to be unreal. It’s actually the same stage setup as the guy who does \u003ca href=\"http://www.amontobin.com/\">Amon Tobin’s\u003c/a> cubes. So it’s going to be a huge spectacle — and at the Regency. I imagine that will be THE festival highlight and the one that people are talking about the most.\u003c/p>\n\u003cp>Beyond that is Digital Mysticz. They are sort of the pioneers of dubstep, and not the testosterone-filled, Skryllex dubstep. But they’re a little bit more from an original source that mixes Jamaican beats over this very spacey, electronic atmosphere. They are icons and they rarely tour together, so it’s really going to be special.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-paintedpalms.jpg\" width=\"500\" height=\"500\" alt=\"Painted Palms play Noise Pop on Friday,2/28 at Slim's\" class>\u003cfigcaption class=\"wp-caption-text\">Painted Palms play Noise Pop on Friday,2/28 at Slim’s\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What bands in this year’s line-up do you think are poised to take a major leap?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I would say a band called \u003ca href=\"http://www.sfgate.com/music/article/Painted-Palms-Cousins-mix-musical-styles-5146158.php\">Painted Palms\u003c/a> is one that is really poised to take off. They are two local guys. They write perfect songs from beginning to end — just like a scalpel — the way that they construct their songs. And they have a really cool Beach Boys-y sound that is popular.\u003c/p>\n\u003cp>Another one is an artist called \u003ca href=\"http://mrcarmack.bandcamp.com/\">Mr. Carmack\u003c/a>. Actually he might already have broken out — the Internet moves so quickly — but he’s a god in the SoundCloud community. He’s playing at Scene Unseen, which is our free event with \u003ca href=\"http://do415.com/\">Do415\u003c/a> on Friday. It’s pretty amazing. I imagine he’ll be making beats for Kanye West within a year.\u003c/p>\n\u003cp>Another great one is \u003ca href=\"http://socialstudies-music.com/\">Social Studies\u003c/a>. That’s another band that I personally love a lot. They write great songs, and they have good heads on their shoulders. They have all the elements; they just need that break and that bit of luck, which hopefully we can help provide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Noise Pop Festival\u003c/b> runs from February 25 to March 2, 2014 at venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2014/\">more information\u003c/a>, visit noisepop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a fairly recent addition to the Bay Area, my opinion of the \u003ca href=\"http://schedule.noisepop.com/\">Noise Pop Festival\u003c/a> surely differs somewhat from that of seasoned veterans. Through my virgin eyes, Noise Pop appears to be a titan in the mythos of indie rock. While the festival is without a doubt appropriately appreciated by those who have been blessed to observe its ascension to notoriety, it holds legendary status in the hearts and minds of those lacking the liberty to attend year after year.\u003c/p>\n\u003cp>Prior to my recent relocation to SF, I spent a decade in Athens, GA, which can undoubtedly claim notoriety in the indie rock realm. And the fact that I spent so much time there instilled in me a certain understanding — almost entitlement — of the genre and the mindset. Even so, the accomplishments and innovations of Noise Pop are something even Athenians cannot deny. After all, its founders were the \u003ca href=\"http://www.npr.org/2012/06/14/155014576/the-mix-100-essential-noise-pop-songs\">first to use the namesake term\u003c/a> to describe the yin and yang of melody and dissonance so pivotal in modern indie rock.\u003c/p>\n\u003cp>Noise Pop shares the stage with festivals such as SXSW, as pioneers of the decentralized, city-encompassing music extravaganza. What sets it apart, though, is its roots in, and continuing focus on, the showcasing of local musicians and artists. The festival celebrates a music scene that cannot be contained by the city’s borders — one that is not only defined by its local artists but by those who grace its stages on tours throughout the country. Its organizers do a fantastic job of assimilating these two aspects into a sort of musical casserole.\u003c/p>\n\u003cp>This year Noise Pop will be introducing a new \u003ca href=\"http://schedule.noisepop.com/noisepophq\">Noise Pop Headquarters\u003c/a> as a centerpiece to the sprawling, boundless festival — another yin to a yang. I spoke to Dawson Ludwig, Noise Pop Industries’ General Manager, about this new expansion, the music business, Athens, synergy, and the meaning of the term “indie.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-dawsonludwig.jpg\" width=\"500\" height=\"333\" alt=\"Noise Pop Industries General Manager, Dawson Ludwig\" class>\u003cfigcaption class=\"wp-caption-text\">Noise Pop Industries General Manager, Dawson Ludwig\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The word “indie” gets thrown out a whole hell of a lot these days, and some people have no idea what it really means. What do you feel constitutes art as independent?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Dawson Ludwig:\u003c/b> We are an interesting festival in regard to the term “indie,” in large part because we’ve seen sort of the birth of it and the redefinition of it. In 1993, when the festival started, indie had a very specific definition. If you were “indie” music, some company other than one of the four major record labels specifically was distributing your records. As a lot of the smaller indie labels started signing deals with major labels, specifically distribution deals, that muddied the waters — because someone like \u003ca href=\"https://www.subpop.com/\">Sub Pop\u003c/a> or \u003ca href=\"http://merge-records.com/\">Merge\u003c/a> (quintessential indie record labels) now had some degree of partnership with a major. That in and of itself really shattered the strict definition that it was created under.\u003c/p>\n\u003cp>The term “indie,” similar to the word “alternative,” became a catch-all for things that are cool and things that are of a certain cultural relevance. The term has been co-opted to some degree; however, there is still this oddly, strangely defined culture that is truly an “independent” culture. Sometimes it doesn’t adhere as strictly as it used to in the early ’90s, but I think a lot of the artists — someone like Death Cab For Cutie, for instance, who is as major as major gets — they are categorically “independent.” I think that’s largely because of the progressiveness of what they’re doing as well as the aesthetic of what they’re doing. They hold onto that “indie” aesthetic even though they’re technically not independent.\u003c/p>\n\u003cp>\u003cb>So do you consider Noise Pop to be an indie festival?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah it is. In the same way that a band like Death Cab is considered an indie rock band, we are an indie rock festival — in large part because of the genre we champion as well as because we’ve been doing this for a while. We sort of walked the term “indie” from its inception to the really broad scope that it has now.\u003c/p>\n\u003cp>\u003cb>You took it through its teenage years…\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Or it took us — one or the other.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-kozelek.jpg\" width=\"500\" height=\"496\" alt=\"Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\" class>\u003cfigcaption class=\"wp-caption-text\">Mark Kozelek plays Noise Pop on Saturday, 3/1 at Great American Music Hall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So, obviously there is a focus from Noise Pop on local bands. In Athens we had a music festival called \u003ca href=\"http://athfest.com/music-festival\">Athfest\u003c/a>, which is modeled after festivals such as SXSW and Noise Pop itself. Athfest has remained strictly a showcase for local talent… maybe a band from Atlanta to headline. What made you guys decide to introduce bigger national acts into the fold?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I think a lot of that was due to the state of the San Francisco music scene, which is something like Athens in that it’s a town that has an overwhelming amount of incredible talent. San Francisco is a little bit more of an international city, in regard to the music scene, and there’s more of an opportunity to capture bands on a national level and utilize that for the festival.\u003c/p>\n\u003cp>I think early on we were able to realize that a lot of this is celebrating the San Francisco music scene, and in order to do that we need to get people out into the clubs. In order to get people out into the clubs, they need a big name. The idea was to bring in a big name national act and get three bands, which is pretty unusual for a club night. Most clubs have one or two supporters. Our idea was to have three supporting acts that were really — from our perspective — the things that people needed to be checking out. Obviously it’s great to see Bright Eyes, for instance, but if [the crowd] shows up two hours early and catches the first three bands, then that’s really where our motive comes in. As the festival has gotten bigger and we’ve gotten larger names we’ve been able to really shine a brighter spotlight on some great local talent.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-lordhuron.jpg\" width=\"500\" height=\"310\" alt=\"Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\" class>\u003cfigcaption class=\"wp-caption-text\">Lord Huron play Noise Pop on Tuesday, 2/25 at The Fillmore\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are you guys often approached by concert promoters in other cities attempting to start up their own festivals or take existing festivals to the next level?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Absolutely. We’re often approached by venues in the city, to get them to be a part of Noise Pop. Noise Pop also has a private events service, and there have been times when other festivals have gotten in touch with us about how to optimize something or how to get in touch with artists. There’s an opportunity for us to share our expertise with people who are coming up in the same arena. It’s a crowded arena at this point, so there are a lot of people looking for advice.\u003c/p>\n\u003cp>\u003cb>In turn, do you guys often find yourselves seeking out advice from the organizers of other music festivals?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Sure. There’s definitely a dialogue that goes on between festivals. Noise Pop and Another Planet, for instance, partner together to do \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island\u003c/a> [Music Festival]. We also are in constant communication with someone like SXSW, where we’re actually doing a showcase this year. And our previous producer was one of the executive producers at \u003ca href=\"http://www.cmj.com/marathon/\">CMJ\u003c/a>. So that close-knit community creates a dialogue.\u003c/p>\n\u003cp>There are definitely some things that are shared and discussed on ways to optimize. Other areas can be held a little closer to the chest, basically because we are, at the same time, competitors. But we’re all friends and know that if one goes away then it hurts the industry. So we’re very supportive.\u003c/p>\n\u003cp>Something like \u003ca href=\"http://www.burningman.com/\">Burning Man\u003c/a> is also a good example. Burning Man is where a lot of festivals go to find art that you see at festivals all over the country. They use Burning Man as almost a sculpture gallery to see what artists are working on and how they can get them into the festival. That festival is a great example of synergy between all of us.\u003c/p>\n\u003cp>\u003cb>Synergy is such a great word. I feel like any time you can use “synergy” you just have to throw it out there.\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah! Absolutely — unless you’re in a business meeting and there’s someone who just realized how effective that word is and overuses it.\u003c/p>\n\u003cp>\u003cb>Obviously I’ve known of Burning Man and how influential it is, but I never realized how it functions as a sort of art gallery for other festivals. \u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> Yeah. Actually our art director for Treasure Island is a guy named Will Chase, who is one of the top guys at Burning Man.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-realestate.jpg\" width=\"500\" height=\"281\" alt=\"Real Estate play Noise Pop on Friday, 2/28 at The Independent\" class>\u003cfigcaption class=\"wp-caption-text\">Real Estate play Noise Pop on Friday, 2/28 at The Independent\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You guys are introducing a headquarters for this year’s festival. How do you think this will change the dynamic?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> One of the great things about Noise Pop is that people have experiences all over the city. It’s as much a festival about figuring out what bands you like as it is a tour of San Francisco venues. At the same time, that can create a lack of cohesive experience for people. So one of the things we are trying to do this year is create an opportunity for everyone to be able to, at some point throughout the week, come in and experience something together. That ranges from artists hanging out in this area to fans hanging out in this area. It’s really an opportunity for everyone to gather under one roof — either for happy hour and then going out into the night or experiencing a show at this place. It’s really a ground zero, for lack of a better term.\u003c/p>\n\u003cp>It’s one of those things that we wanted to introduce without taking away from that weird energy that comes when people just decide to gather in a certain place but also offer something that would help define it a little more.\u003c/p>\n\u003cp>\u003cb>What bands are you most excited about seeing this year?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> \u003ca href=\"http://talkingbackwards.realestatetheband.com/\">Real Estate\u003c/a> I think is probably my favorite band on [the schedule]. And their new record is unbelievable, too. \u003ca href=\"http://www.matthewdear.com/\">Matthew Dear\u003c/a> — his new project Audion is going to be unreal. It’s actually the same stage setup as the guy who does \u003ca href=\"http://www.amontobin.com/\">Amon Tobin’s\u003c/a> cubes. So it’s going to be a huge spectacle — and at the Regency. I imagine that will be THE festival highlight and the one that people are talking about the most.\u003c/p>\n\u003cp>Beyond that is Digital Mysticz. They are sort of the pioneers of dubstep, and not the testosterone-filled, Skryllex dubstep. But they’re a little bit more from an original source that mixes Jamaican beats over this very spacey, electronic atmosphere. They are icons and they rarely tour together, so it’s really going to be special.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/np-paintedpalms.jpg\" width=\"500\" height=\"500\" alt=\"Painted Palms play Noise Pop on Friday,2/28 at Slim's\" class>\u003cfigcaption class=\"wp-caption-text\">Painted Palms play Noise Pop on Friday,2/28 at Slim’s\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What bands in this year’s line-up do you think are poised to take a major leap?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DL:\u003c/b> I would say a band called \u003ca href=\"http://www.sfgate.com/music/article/Painted-Palms-Cousins-mix-musical-styles-5146158.php\">Painted Palms\u003c/a> is one that is really poised to take off. They are two local guys. They write perfect songs from beginning to end — just like a scalpel — the way that they construct their songs. And they have a really cool Beach Boys-y sound that is popular.\u003c/p>\n\u003cp>Another one is an artist called \u003ca href=\"http://mrcarmack.bandcamp.com/\">Mr. Carmack\u003c/a>. Actually he might already have broken out — the Internet moves so quickly — but he’s a god in the SoundCloud community. He’s playing at Scene Unseen, which is our free event with \u003ca href=\"http://do415.com/\">Do415\u003c/a> on Friday. It’s pretty amazing. I imagine he’ll be making beats for Kanye West within a year.\u003c/p>\n\u003cp>Another great one is \u003ca href=\"http://socialstudies-music.com/\">Social Studies\u003c/a>. That’s another band that I personally love a lot. They write great songs, and they have good heads on their shoulders. They have all the elements; they just need that break and that bit of luck, which hopefully we can help provide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Noise Pop Festival\u003c/b> runs from February 25 to March 2, 2014 at venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2014/\">more information\u003c/a>, visit noisepop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch DRMS' Video EP 'American 707'",
"headTitle": "Watch DRMS’ Video EP ‘American 707’ | KQED",
"content": "\u003cp>Oakland band DRMS’ (pronounced “dreams”) latest release \u003ci>American 707\u003c/i> is many things — a suite of songs, a soundtrack, and a video work. Clocking in at a little over 17 minutes, the video, which is more like an extended experimental film, was produced in collaboration with Elia Vargas, an Oakland-based filmmaker currently studying Conceptual Information Arts at San Francisco State. The video features scenes of band members Emily Ritz and Robert Shelton on the road and ranging across various California settings, including desert and ocean landscapes. For Shelton, the title of the piece, \u003ci>American 707\u003c/i>, “calls to mind movement and change and planes. It also feels nostalgic in a really mysterious way.” These ideas are present in both the sound and the visuals accompanying the new release. The listener often drifts with the music into a daydream state, carried off by the band’s ethereal arrangements and Emily Ritz’s wistful vocals.\u003c/p>\n\u003cp>DRMS released the video yesterday (February 18, 2014) on their website and will be playing a release show at Rickshaw Stop on Saturday, February 22. Take the time for a “first listen” by watching the video (below). Drawing on a number of San Francisco experimental film traditions and harkening back to the earliest music videos, Vargas buries \u003ci>American 707\u003c/i> in dense layers of evocative texture, sometimes projecting images onto rock formations, with Ritz and Shelton moving in and out of a shallow focus plane. The band describes its music as “Noir Pop,” and that idea is reinforced through the visuals here, which tend toward a darker, more mysterious and somewhat searching feeling.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=EM_QPm8IgSw\u003c/p>\n\u003cp>In general the imagery in \u003ci>American 707\u003c/i> feels distinctly Californian or American West. Ritz and Shelton drive down a two-lane highway, no cars in sight, or can be found standing on the edge of a mountain overlooking the dry and vast desert below. There are surprises however. At one point, we encounter Shelton and Ritz wandering the desert in white spandex-like body suits. They move in an unnatural way, wobbling as if a shock has pulsed through their otherwise complacent bodies. The feeling is a bit sci-fi, drawing on the sometimes robotic and outer-spacey sounds found in the music. When asked about these visuals and whether or not DRMS intended to provide a story for the suite Ritz responded, “I think the music itself is open to multiple narratives or interpretations, depending on what the listener brings to it. We intended for the film to reflect that openness. There are definitely themes and re-occuring patterns in the film that are intended to create a loose plot.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/02/18/drms640.jpg\" width=\"640\" height=\"640\" alt=\"DRMS American 707\" class>\u003cfigcaption class=\"wp-caption-text\">DRMS American 707\u003c/figcaption>\u003c/figure>\n\u003cp>With recent releases by Bon Iver and — most particularly — Beyonce, video albums are becoming noteworthy. On Beyonce’s self-titled “visual album” released late in 2013, each track was accompanied by a video that reinforced the song’s narrative. By contrast, in 2011 Bon Iver released a deluxe video version of his own self-titled record nearly 6 months after the album’s initial release. Bon Iver’s images are high definition visuals of nature, landscape, and weather and accompanied the songs in a much more impressionistic way. These themes play a role in his interests as an artist, but do not inherently tell a story specifically tied to the music. DRMS’ \u003ci>American 707\u003c/i> falls somewhere between these two extremes, making a video that is cohesive and derives its inspiration and content from the music, without providing a specific narrative or moving too far off into the abstract. With the addition of moving images, the possibilities to add meaning to the music is endless, so why go this route? Shelton explained that he “was looking to create a piece that set its own pace and occupied its own world, presenting more of a challenge to engage with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see and hear \u003ci>American 707\u003c/i> join DRMS at the Rickshaw Stop on Saturday February 22, 2014. For \u003ca href=\"http://www.rickshawstop.com/event/449369-drms-suite-release-show-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland band DRMS’ (pronounced “dreams”) latest release \u003ci>American 707\u003c/i> is many things — a suite of songs, a soundtrack, and a video work. Clocking in at a little over 17 minutes, the video, which is more like an extended experimental film, was produced in collaboration with Elia Vargas, an Oakland-based filmmaker currently studying Conceptual Information Arts at San Francisco State. The video features scenes of band members Emily Ritz and Robert Shelton on the road and ranging across various California settings, including desert and ocean landscapes. For Shelton, the title of the piece, \u003ci>American 707\u003c/i>, “calls to mind movement and change and planes. It also feels nostalgic in a really mysterious way.” These ideas are present in both the sound and the visuals accompanying the new release. The listener often drifts with the music into a daydream state, carried off by the band’s ethereal arrangements and Emily Ritz’s wistful vocals.\u003c/p>\n\u003cp>DRMS released the video yesterday (February 18, 2014) on their website and will be playing a release show at Rickshaw Stop on Saturday, February 22. Take the time for a “first listen” by watching the video (below). Drawing on a number of San Francisco experimental film traditions and harkening back to the earliest music videos, Vargas buries \u003ci>American 707\u003c/i> in dense layers of evocative texture, sometimes projecting images onto rock formations, with Ritz and Shelton moving in and out of a shallow focus plane. The band describes its music as “Noir Pop,” and that idea is reinforced through the visuals here, which tend toward a darker, more mysterious and somewhat searching feeling.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=EM_QPm8IgSw\u003c/p>\n\u003cp>In general the imagery in \u003ci>American 707\u003c/i> feels distinctly Californian or American West. Ritz and Shelton drive down a two-lane highway, no cars in sight, or can be found standing on the edge of a mountain overlooking the dry and vast desert below. There are surprises however. At one point, we encounter Shelton and Ritz wandering the desert in white spandex-like body suits. They move in an unnatural way, wobbling as if a shock has pulsed through their otherwise complacent bodies. The feeling is a bit sci-fi, drawing on the sometimes robotic and outer-spacey sounds found in the music. When asked about these visuals and whether or not DRMS intended to provide a story for the suite Ritz responded, “I think the music itself is open to multiple narratives or interpretations, depending on what the listener brings to it. We intended for the film to reflect that openness. There are definitely themes and re-occuring patterns in the film that are intended to create a loose plot.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/02/18/drms640.jpg\" width=\"640\" height=\"640\" alt=\"DRMS American 707\" class>\u003cfigcaption class=\"wp-caption-text\">DRMS American 707\u003c/figcaption>\u003c/figure>\n\u003cp>With recent releases by Bon Iver and — most particularly — Beyonce, video albums are becoming noteworthy. On Beyonce’s self-titled “visual album” released late in 2013, each track was accompanied by a video that reinforced the song’s narrative. By contrast, in 2011 Bon Iver released a deluxe video version of his own self-titled record nearly 6 months after the album’s initial release. Bon Iver’s images are high definition visuals of nature, landscape, and weather and accompanied the songs in a much more impressionistic way. These themes play a role in his interests as an artist, but do not inherently tell a story specifically tied to the music. DRMS’ \u003ci>American 707\u003c/i> falls somewhere between these two extremes, making a video that is cohesive and derives its inspiration and content from the music, without providing a specific narrative or moving too far off into the abstract. With the addition of moving images, the possibilities to add meaning to the music is endless, so why go this route? Shelton explained that he “was looking to create a piece that set its own pace and occupied its own world, presenting more of a challenge to engage with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see and hear \u003ci>American 707\u003c/i> join DRMS at the Rickshaw Stop on Saturday February 22, 2014. For \u003ca href=\"http://www.rickshawstop.com/event/449369-drms-suite-release-show-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We cover a whole lot of San Francisco Bay Area bands at The Bay Bridged, a sign of the wealth of musical talent here. The size of this talent pool, however, presents its own challenge: with so many interesting local bands out there, and with acts emerging seemingly every day, who are the new artists to keep a close eye on in the months to come?\u003c/p>\n\u003cp>This mixtape takes a stab at answering that question, showcasing fourteen excellent local bands that are new to our podcast, young groups with at most one LP behind them. There are a variety of sounds and styles included here, but we’re hoping that all of these promising bands have big success on the horizon.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Michael-The-Strange-Land/461954940540901\">Michael & The Strange Land\u003c/a> — “Shook Away”\u003cbr>From: San Francisco\u003cbr>Bandleader Michael Taras is no stranger to local music, playing in Sam Flax’s band and having been involved in Shock. The trio’s only been together for a year, but they’ve already released two EPs, including the recent \u003cem>Strange Land EP II\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/GoldenDrugs\">Golden Drugs\u003c/a> — “Struggling Attacker”\u003cbr>From: Oakland\u003cbr>Drew Pearson of Twin Steps leads Golden Drugs, accompanied by members of Creepers and Honeycomb. Golden Drugs doesn’t feel like a combination of those groups, though; the band’s winding songs yield a unique and rich sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/coldbeatsf\">Cold Beat\u003c/a> — “Worms”\u003cbr>From: San Francisco\u003cbr>Since the dissolution of Grass Widow, Hannah Lew has stayed busy with a number of bands, and a new record label called \u003ca href=\"http://www.midheaven.com/item/worms-year-5772-by-cold-beat-12\">Crime on the Moon\u003c/a>. Cold Beat’s stellar debut \u003cem>Worms/Year 5772\u003c/em> EP explores “death, Internet surveillance, paranoia and science fiction,” and the band’s already been working on a follow-up record with Phil Manley.\u003c/p>\n\u003cp>\u003ca href=\"http://lifestinks-sf.tumblr.com\">Life Stinks\u003c/a> — “Sharp When You’re Bummed”\u003cbr>From: San Francisco\u003cbr>Described by Terminal Boredom as “San Francisco’s last punk band,” Life Stinks released a self-titled debut LP late last year on \u003ca>S-S Records\u003c/a>. It’s a record full of powerful punk-meets-rock-and-roll, produced by Mikey Young and Kelley Stoltz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/oooCHASMSooo\">Chasms\u003c/a> — “N.V.S.”\u003cbr>From: San Francisco\u003cbr>Calling Chasms a band to watch feels like a no-brainer (and also long overdue). With three releases under this duo’s belt, including, most recently, the \u003cem>Riser\u003c/em> EP (on \u003ca href=\"http://dreamlabel.tumblr.com/\">Dream Recordings\u003c/a> last year), a tour accompanying Dirty Beaches, and numerous local shows, the band’s gained deserved acclaim for its heavy and melodic shoegaze-influenced sound. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sfbalms\">Balms\u003c/a> — “Surface”\u003cbr>From: San Francisco\u003cbr>Since last summer, emerging SF trio Balms has released a series of singles demonstrating a knack for melodic, shoegazey indie rock. Look forward to a new EP from the band sometime this spring.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/frondsband\">Fronds\u003c/a> — “Crush”\u003cbr>From: San Francisco\u003cbr>Dylan Tidyman-Jones of the now-dissolved The Mallard launched his new band last year with \u003cem>Fronds\u003c/em>. A gorgeous collection of psych-pop, the album impressed Castle Face’s Brian Lee Hughes so much that it served as the inaugural release on his \u003ca href=\"http://www.donotdisturbrecords.com/\">Do Not Disturb\u003c/a> imprint.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/manemanesf\">Mane\u003c/a> — “Older”\u003cbr>From: San Francisco\u003cbr>Mane’s debut “mini-LP” of raw post-punk came out via \u003ca href=\"http://cutraterecords.com/\">Cut-Rate Records\u003c/a> late last year; the 17-minute 7″ sparks with an urgency, a welcome introduction to this trio, which has played shows alongside Pow!, Scraper, and CCR Headcleaner among others.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/runninginthefog\">Running In The Fog\u003c/a> — “Desire”\u003cbr>From: San Francisco\u003cbr>Amanda Harper is Running In The Fog, composing “soul-infused space pop” that melds textured productions to Harper’s strong voice. Her debut EP, \u003cem>Silver\u003c/em>, arrived in December on \u003ca href=\"http://www.fatherdaughterrecords.com/\">Father/Daughter Records\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://anniegirlmusic.com/\">Annie Girl and The Flight\u003c/a> — “Betray The Sea”\u003cbr>From: San Francisco\u003cbr>After arriving in SF, Denver-born Annie Girl joined Mark Matos & Os Beaches, eventually enlisting Matos to serve as a “spiritual adviser” as she developed her own psych-influenced, experimental folk band. After a self-titled release last year, “Betray the Sea” is the first single from a new Annie Girl EP expected to arrive in May.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/richgirlsarehere\">Rich Girls\u003c/a> — “Sink Like Stones”\u003cbr>From: San Francisco\u003cbr>It took several years after the dissolution of The Blacks for Luisa Black to reemerge with her new project, Rich Girls, whose first EP, \u003cem>The One I Want\u003c/em>, arrived late last year on \u003ca href=\"http://www.tricycle-records.com/\">Tricycle Records\u003c/a>. The EP’s billed as “a collection of garage rock torch songs from the dark end of the street,” and “Sink Like Stones” nicely blends the gothic and the melodic.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/KittenGrenade\">Kitten Grenade\u003c/a> — “Gray”\u003cbr>From: San Francisco\u003cbr>Released earlier this year on \u003ca href=\"http://breakuprecords.com/artists.html\">Breakup Records\u003c/a>, Kitten Grenade’s self-titled EP featured charming indie pop guided by buoyant ukelele playing and Katelyn Sullivan’s exceedingly charming vocals. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/satanwriders\">Satan Wriders\u003c/a> — “Freeway”\u003cbr>From: Stockton\u003cbr>All the way from Stockton, Satan Wriders are surely the band to watch with the longest drive to SF. “Freeway” is a slice of rollicking rock and roll that comes from the trio’s debut \u003cem>Black Eyed Kids\u003c/em> LP on \u003ca href=\"http://harlotbk.bigcartel.com/\">Harlot Records\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a> — “Problem Now”\u003cbr>From: San Francisco\u003cbr>Few bands describe themselves with genre hybrids as unique as “Turkish surf punk mariachi,” but bAd bAd delivers with hooks aplenty. The band’s working toward a new cassette to be released later this year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We cover a whole lot of San Francisco Bay Area bands at The Bay Bridged, a sign of the wealth of musical talent here. The size of this talent pool, however, presents its own challenge: with so many interesting local bands out there, and with acts emerging seemingly every day, who are the new artists to keep a close eye on in the months to come?\u003c/p>\n\u003cp>This mixtape takes a stab at answering that question, showcasing fourteen excellent local bands that are new to our podcast, young groups with at most one LP behind them. There are a variety of sounds and styles included here, but we’re hoping that all of these promising bands have big success on the horizon.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Michael-The-Strange-Land/461954940540901\">Michael & The Strange Land\u003c/a> — “Shook Away”\u003cbr>From: San Francisco\u003cbr>Bandleader Michael Taras is no stranger to local music, playing in Sam Flax’s band and having been involved in Shock. The trio’s only been together for a year, but they’ve already released two EPs, including the recent \u003cem>Strange Land EP II\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/GoldenDrugs\">Golden Drugs\u003c/a> — “Struggling Attacker”\u003cbr>From: Oakland\u003cbr>Drew Pearson of Twin Steps leads Golden Drugs, accompanied by members of Creepers and Honeycomb. Golden Drugs doesn’t feel like a combination of those groups, though; the band’s winding songs yield a unique and rich sound.\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/coldbeatsf\">Cold Beat\u003c/a> — “Worms”\u003cbr>From: San Francisco\u003cbr>Since the dissolution of Grass Widow, Hannah Lew has stayed busy with a number of bands, and a new record label called \u003ca href=\"http://www.midheaven.com/item/worms-year-5772-by-cold-beat-12\">Crime on the Moon\u003c/a>. Cold Beat’s stellar debut \u003cem>Worms/Year 5772\u003c/em> EP explores “death, Internet surveillance, paranoia and science fiction,” and the band’s already been working on a follow-up record with Phil Manley.\u003c/p>\n\u003cp>\u003ca href=\"http://lifestinks-sf.tumblr.com\">Life Stinks\u003c/a> — “Sharp When You’re Bummed”\u003cbr>From: San Francisco\u003cbr>Described by Terminal Boredom as “San Francisco’s last punk band,” Life Stinks released a self-titled debut LP late last year on \u003ca>S-S Records\u003c/a>. It’s a record full of powerful punk-meets-rock-and-roll, produced by Mikey Young and Kelley Stoltz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/oooCHASMSooo\">Chasms\u003c/a> — “N.V.S.”\u003cbr>From: San Francisco\u003cbr>Calling Chasms a band to watch feels like a no-brainer (and also long overdue). With three releases under this duo’s belt, including, most recently, the \u003cem>Riser\u003c/em> EP (on \u003ca href=\"http://dreamlabel.tumblr.com/\">Dream Recordings\u003c/a> last year), a tour accompanying Dirty Beaches, and numerous local shows, the band’s gained deserved acclaim for its heavy and melodic shoegaze-influenced sound. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sfbalms\">Balms\u003c/a> — “Surface”\u003cbr>From: San Francisco\u003cbr>Since last summer, emerging SF trio Balms has released a series of singles demonstrating a knack for melodic, shoegazey indie rock. Look forward to a new EP from the band sometime this spring.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/frondsband\">Fronds\u003c/a> — “Crush”\u003cbr>From: San Francisco\u003cbr>Dylan Tidyman-Jones of the now-dissolved The Mallard launched his new band last year with \u003cem>Fronds\u003c/em>. A gorgeous collection of psych-pop, the album impressed Castle Face’s Brian Lee Hughes so much that it served as the inaugural release on his \u003ca href=\"http://www.donotdisturbrecords.com/\">Do Not Disturb\u003c/a> imprint.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/manemanesf\">Mane\u003c/a> — “Older”\u003cbr>From: San Francisco\u003cbr>Mane’s debut “mini-LP” of raw post-punk came out via \u003ca href=\"http://cutraterecords.com/\">Cut-Rate Records\u003c/a> late last year; the 17-minute 7″ sparks with an urgency, a welcome introduction to this trio, which has played shows alongside Pow!, Scraper, and CCR Headcleaner among others.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/runninginthefog\">Running In The Fog\u003c/a> — “Desire”\u003cbr>From: San Francisco\u003cbr>Amanda Harper is Running In The Fog, composing “soul-infused space pop” that melds textured productions to Harper’s strong voice. Her debut EP, \u003cem>Silver\u003c/em>, arrived in December on \u003ca href=\"http://www.fatherdaughterrecords.com/\">Father/Daughter Records\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://anniegirlmusic.com/\">Annie Girl and The Flight\u003c/a> — “Betray The Sea”\u003cbr>From: San Francisco\u003cbr>After arriving in SF, Denver-born Annie Girl joined Mark Matos & Os Beaches, eventually enlisting Matos to serve as a “spiritual adviser” as she developed her own psych-influenced, experimental folk band. After a self-titled release last year, “Betray the Sea” is the first single from a new Annie Girl EP expected to arrive in May.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/richgirlsarehere\">Rich Girls\u003c/a> — “Sink Like Stones”\u003cbr>From: San Francisco\u003cbr>It took several years after the dissolution of The Blacks for Luisa Black to reemerge with her new project, Rich Girls, whose first EP, \u003cem>The One I Want\u003c/em>, arrived late last year on \u003ca href=\"http://www.tricycle-records.com/\">Tricycle Records\u003c/a>. The EP’s billed as “a collection of garage rock torch songs from the dark end of the street,” and “Sink Like Stones” nicely blends the gothic and the melodic.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/KittenGrenade\">Kitten Grenade\u003c/a> — “Gray”\u003cbr>From: San Francisco\u003cbr>Released earlier this year on \u003ca href=\"http://breakuprecords.com/artists.html\">Breakup Records\u003c/a>, Kitten Grenade’s self-titled EP featured charming indie pop guided by buoyant ukelele playing and Katelyn Sullivan’s exceedingly charming vocals. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/satanwriders\">Satan Wriders\u003c/a> — “Freeway”\u003cbr>From: Stockton\u003cbr>All the way from Stockton, Satan Wriders are surely the band to watch with the longest drive to SF. “Freeway” is a slice of rollicking rock and roll that comes from the trio’s debut \u003cem>Black Eyed Kids\u003c/em> LP on \u003ca href=\"http://harlotbk.bigcartel.com/\">Harlot Records\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/badbadforyou\">bAd bAd\u003c/a> — “Problem Now”\u003cbr>From: San Francisco\u003cbr>Few bands describe themselves with genre hybrids as unique as “Turkish surf punk mariachi,” but bAd bAd delivers with hooks aplenty. The band’s working toward a new cassette to be released later this year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I see barren hallways / Broken cameras / Uninvited guests / There’s no service here / As if a sea of people were cast away on an island to fend for themselves”\u003c/p>\n\u003cp>So begins the first verse of the latest example of sourced storytelling for the Off/Page Project. The project is a collaboration between \u003ca href=\"http://cironline.org/\">The Center for Investigative Reporting\u003c/a> and \u003ca href=\"http://youthspeaks.org/\">Youth Speaks\u003c/a>, the leading nonprofit presenter of spoken word performance, education and youth development programs in the country.\u003c/p>\n\u003cp>In conjunction with CIR’s new investigation — produced in partnership with the \u003ca href=\"http://www.sfchronicle.com/\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> and KQED — about the failures of Richmond, CA’s public housing agency, Off/Page recruited three poets from a local nonprofit to work with CIR reporter Amy Julia Harris.\u003c/p>\n\u003cp>Watch Off/Page’s new video, \u003ci>This is Home\u003c/i>, which weaves the narratives of \u003ca href=\"http://ww2.kqed.org/news/2014/02/11/residents-live-in-filth-in-mismanaged-richmond-public-housing/\">the investigation\u003c/a> with the poets’ experiences growing up in Richmond.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=xqyIOT2LkvU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>José Vadi is the project director of the Off/Page Project, a collaboration between The Center for Investigative Reporting and Youth Speaks. Contact him at jvadi@cironline.org.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I see barren hallways / Broken cameras / Uninvited guests / There’s no service here / As if a sea of people were cast away on an island to fend for themselves”\u003c/p>\n\u003cp>So begins the first verse of the latest example of sourced storytelling for the Off/Page Project. The project is a collaboration between \u003ca href=\"http://cironline.org/\">The Center for Investigative Reporting\u003c/a> and \u003ca href=\"http://youthspeaks.org/\">Youth Speaks\u003c/a>, the leading nonprofit presenter of spoken word performance, education and youth development programs in the country.\u003c/p>\n\u003cp>In conjunction with CIR’s new investigation — produced in partnership with the \u003ca href=\"http://www.sfchronicle.com/\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> and KQED — about the failures of Richmond, CA’s public housing agency, Off/Page recruited three poets from a local nonprofit to work with CIR reporter Amy Julia Harris.\u003c/p>\n\u003cp>Watch Off/Page’s new video, \u003ci>This is Home\u003c/i>, which weaves the narratives of \u003ca href=\"http://ww2.kqed.org/news/2014/02/11/residents-live-in-filth-in-mismanaged-richmond-public-housing/\">the investigation\u003c/a> with the poets’ experiences growing up in Richmond.\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/xqyIOT2LkvU'\n title='//www.youtube.com/embed/xqyIOT2LkvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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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": "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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"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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"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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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