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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://birdsandbatteries.com/\">Birds & Batteries\u003c/a> are a San Francisco band mixing electronic and acoustic elements into dynamic indie rock. The band’s latest album, \u003cb>Panorama\u003c/b>, came out October 12, 2010 on \u003ca href=\"http://www.spune.com/birds-batteries/\">Spune\u003c/a>/\u003ca href=\"http://www.velvetbluemusic.com/v3/releases.php\">Velvet Blue Music\u003c/a>, and finds the quartet reincorporating some of the alt-country/Americana elements that weren’t present on 2009’s funky, synth-focused \u003cb>Up To No Good\u003c/b> EP. This is Birds & Batteries the rock band, with compelling guitar hooks and a heartfelt twang complimenting bandleader Mike Sempert’s thoughtful lyrics. The layers demonstrate Sempert’s skill as a sonic craftsman, committed to transforming the unique melding of sounds into winning, honest music. Lucky for him (and us), he’s surrounded by bandmates with the talent and determination to pull it off.\u003c/p>\n\u003cp>\u003cb>The Bay Bridged\u003c/b> sat down with Mike and and Jill to discuss the long process of crafting \u003cb>Panorama\u003c/b>, and the band’s mixture of electronic and acoustic elements. Four Birds & Batteries songs (three from \u003cb>Panorama\u003c/b>) are included in the episode.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the days before the first Hardly Strictly Bluegrass Festival in 2001, founder Warren Hellman had a recurring thought in his head: “I wondered if anybody would show up.” Hellman admits this now. Admits it with a laugh that comes from knowing how differently it turned out. Thousands attended in 2001, and last year in Golden Gate Park, around three-quarters-of-a-million people thronged to the three-day festival. This year’s event, which is Friday through Sunday, may be even larger. There’s no other festival like it in America — no other musical cavalcade that offers such eclectic performances in an inspired outdoor setting for free.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"float: right;margin: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/gillianwelch.jpg\" alt=\"gillian welch\">Singer Gillian Welch, a staple of Hardly Strictly Bluegrass, has a theory that (partly) explains why musicians love performing at the festival and why Hardly Strictly audiences are so enthusiastic. “I think it’s because a free festival puts (the audience) in a different head space,” Welch says by phone from Nashville, before flying to San Francisco to perform this Saturday. “Nobody is trying to get their money’s worth. There’s no burden of expectations — that ‘I bought this ticket, and I hope I have a good time.’ If you’re not having a good time, you split. It’s a great thing.”\u003c/p>\n\u003cp>This year’s “great thing” features (as usual) a lineup of artists that seems almost too good to be true. On Friday, it includes Donald Fagen, Michael McDonald and Boz Scaggs (performing as The Dukes of September Rhythm Revue), Patty Griffin and T Bone Burnett. On Saturday, it’s Welch, Joan Baez, Steve Earle, Kinky Friedman, Jonathan Richman, Richard Thompson, the David Grisman Quintet, and Holly Golightly and the Brokeoffs. On Sunday comes Earl Scruggs, Doc Watson and David Holt, Emmylou Harris, Elvis Costello, Rosanne Cash, Randy Newman, and Patti Smith. More than 80 performances will be crammed into 22 hours of playing time across six stages — a dizzying pace that, with the massive crowds, can be overwhelming to the neophyte attendee. Hellman’s advice: “Don’t try to go from stage to stage. Just take one stage” and stay there.\u003c/p>\n\u003cp>On Saturday, a stage to inhabit is the Banjo Stage, where Welch, Baez, Grisman and Earle all play. Welch, who has performed six previous times at Hellman’s festival, embodies the appeal of Hardly Strictly Bluegrass. She sings what could be called New American Roots Music — music that takes the traditions of bluegrass, folk, country and Appalachian, and funnels them through contemporary lyrics, slow guitar riffs, and a voice with an unmistakable twang (even though she was raised in Southern California and went to college at UC Santa Cruz). Welch’s songs are instantly recognizable, and full of narratives about relationships and feelings, good and bad. People relate passionately to Welch’s albums.\u003c/p>\n\u003cp>“I feel like you can only talk about in a song what you’re experiencing, and what you’re dealing with, and what’s in your head,” Welch says, adding that her songs incorporate “an extreme range of emotions. My whole palette is meticulously subtle. I see things in microscopic shades . . . Someone said to me recently, ‘Just have fun. I’m hope you’re having fun. That’s what it’s all about.’ While I appreciated that, that’s not what it’s all about. I am trying to be creative (with my work). So, I’m sorry, that’s not what it’s all about.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Welch says she’s enjoying a new phase of her career – a re-appreciation of the duet format that she forged with guitarist David Rawlings. Welch just completed a new album with just her and Rawlings, after a few years of collaborations with bigger assemblages, saying, “I really didn’t think it was possible to make a slower record than I made in the past, but I may have.”\u003c/p>\n\u003cp>At her set on Saturday (scheduled for 4:20pm), Welch says she’ll likely perform songs from such previous albums as \u003cstrong>Time (The Relvelator)\u003c/strong>. It’s also possible that Hellman will make an appearance with Welch since he’s an active banjo player — so active that, since 2006, he has played at every Hardly Strictly Bluegrass, with his group called The Wronglers.\u003c/p>\n\u003cp>The musicians love Hellman (“he’s an extraordinary man; I just think the world of him,” Welch says) and he loves them. Hellman is someone who would have to be called a genuine San Francisco character: A Harvard-educated billionaire who co-founded an investment firm (Hellman & Friedman LLC, where he’s a managing director); served as president of one of America’s most notable financial companies (Lehman Brothers); and sits on the advisory board of UC Berkeley’s Walter A. Haas School of Business — yet gives away millions to pay for a festival that doesn’t have his name attached. Whether that’s good business sense doesn’t matter to Hellman, who is in his 70s and jokes about his potential legacy.\u003c/p>\n\u003cp>“Would I rather be remembered for (the festival) or some initial public offering we did when I was an investment banker?” he says. “People keep saying, ‘You’re really a philanthropist.’ I say, ‘You know what that is — it’s a cross between a misanthrope and a philanderer.”\u003c/p>\n\u003cp>Turning more serious, Hellman says he has always loved American roots music, especially banjo music. “Something just resonates, and you feel transported — not by my music but someone like Earl Scruggs,” he says of the Southern banjo player who has been acclaimed for 60 years. “I feel I could listen to that music forever.”\u003c/p>\n\u003cp>One of the new groups that Hellman recommends seeing at this year’s festival is the Ebony Hillbillies (Friday, 2pm), who bill themselves as “one of the last black string bands in the U.S.” A promoter discovered the band playing for change at Manhattan’s Grand Central Station terminal, and since then, the group has performed at venues around the country. “They have great energy,” Hellman says.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=UTSDd7EZzOc&fs=1&hl=en_US]\u003c/p>\n\u003cp>Hellman will bring his own energy to his performance with The Wronglers on Saturday (11am), and to his speech at Sunday night’s closing, when he says he’ll talk about the power of music — of a festival like Hardly Strictly Bluegrass — to unite people of all different backgrounds, in contrast to the mid-term elections that are weeks away. “I wish the U.S. were like Speedway Meadow,” Hellman says, referring to one of the spots in Golden Gate Park where the festival is being staged. “Hundreds of thousands of people appreciating each other, saying, ‘We’re going to treat each other with kindness.’ . . . A musician doesn’t say, ‘Don’t go to that other stage; don’t listen to her.’ “\u003c/p>\n\u003cp>Hellman, who was once a stalwart of the Republican Party and is now a self-professed decline-to-state, says his involvement with the festival helped steer him to a more undefined political position. “I’ve met business people and politicians I’ve never liked, but I’ve never met a musician I’ve never not liked,” he says. “I’d rather know Earl Scruggs than the president of the United States.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Hardly Strictly Bluegrass festival is Friday, October 1 through Sunday, October 3, 2010 at the west end of Golden Gate Park, between Transverse Drive and Spreckels Lake, overlapping Speedway Meadow, Lindley Meadow and Marx Meadow. For \u003ca href=\"http://www.strictlybluegrass.com/\">more information\u003c/a> visit strictlybluegrass.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the days before the first Hardly Strictly Bluegrass Festival in 2001, founder Warren Hellman had a recurring thought in his head: “I wondered if anybody would show up.” Hellman admits this now. Admits it with a laugh that comes from knowing how differently it turned out. Thousands attended in 2001, and last year in Golden Gate Park, around three-quarters-of-a-million people thronged to the three-day festival. This year’s event, which is Friday through Sunday, may be even larger. There’s no other festival like it in America — no other musical cavalcade that offers such eclectic performances in an inspired outdoor setting for free.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"float: right;margin: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/gillianwelch.jpg\" alt=\"gillian welch\">Singer Gillian Welch, a staple of Hardly Strictly Bluegrass, has a theory that (partly) explains why musicians love performing at the festival and why Hardly Strictly audiences are so enthusiastic. “I think it’s because a free festival puts (the audience) in a different head space,” Welch says by phone from Nashville, before flying to San Francisco to perform this Saturday. “Nobody is trying to get their money’s worth. There’s no burden of expectations — that ‘I bought this ticket, and I hope I have a good time.’ If you’re not having a good time, you split. It’s a great thing.”\u003c/p>\n\u003cp>This year’s “great thing” features (as usual) a lineup of artists that seems almost too good to be true. On Friday, it includes Donald Fagen, Michael McDonald and Boz Scaggs (performing as The Dukes of September Rhythm Revue), Patty Griffin and T Bone Burnett. On Saturday, it’s Welch, Joan Baez, Steve Earle, Kinky Friedman, Jonathan Richman, Richard Thompson, the David Grisman Quintet, and Holly Golightly and the Brokeoffs. On Sunday comes Earl Scruggs, Doc Watson and David Holt, Emmylou Harris, Elvis Costello, Rosanne Cash, Randy Newman, and Patti Smith. More than 80 performances will be crammed into 22 hours of playing time across six stages — a dizzying pace that, with the massive crowds, can be overwhelming to the neophyte attendee. Hellman’s advice: “Don’t try to go from stage to stage. Just take one stage” and stay there.\u003c/p>\n\u003cp>On Saturday, a stage to inhabit is the Banjo Stage, where Welch, Baez, Grisman and Earle all play. Welch, who has performed six previous times at Hellman’s festival, embodies the appeal of Hardly Strictly Bluegrass. She sings what could be called New American Roots Music — music that takes the traditions of bluegrass, folk, country and Appalachian, and funnels them through contemporary lyrics, slow guitar riffs, and a voice with an unmistakable twang (even though she was raised in Southern California and went to college at UC Santa Cruz). Welch’s songs are instantly recognizable, and full of narratives about relationships and feelings, good and bad. People relate passionately to Welch’s albums.\u003c/p>\n\u003cp>“I feel like you can only talk about in a song what you’re experiencing, and what you’re dealing with, and what’s in your head,” Welch says, adding that her songs incorporate “an extreme range of emotions. My whole palette is meticulously subtle. I see things in microscopic shades . . . Someone said to me recently, ‘Just have fun. I’m hope you’re having fun. That’s what it’s all about.’ While I appreciated that, that’s not what it’s all about. I am trying to be creative (with my work). So, I’m sorry, that’s not what it’s all about.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Welch says she’s enjoying a new phase of her career – a re-appreciation of the duet format that she forged with guitarist David Rawlings. Welch just completed a new album with just her and Rawlings, after a few years of collaborations with bigger assemblages, saying, “I really didn’t think it was possible to make a slower record than I made in the past, but I may have.”\u003c/p>\n\u003cp>At her set on Saturday (scheduled for 4:20pm), Welch says she’ll likely perform songs from such previous albums as \u003cstrong>Time (The Relvelator)\u003c/strong>. It’s also possible that Hellman will make an appearance with Welch since he’s an active banjo player — so active that, since 2006, he has played at every Hardly Strictly Bluegrass, with his group called The Wronglers.\u003c/p>\n\u003cp>The musicians love Hellman (“he’s an extraordinary man; I just think the world of him,” Welch says) and he loves them. Hellman is someone who would have to be called a genuine San Francisco character: A Harvard-educated billionaire who co-founded an investment firm (Hellman & Friedman LLC, where he’s a managing director); served as president of one of America’s most notable financial companies (Lehman Brothers); and sits on the advisory board of UC Berkeley’s Walter A. Haas School of Business — yet gives away millions to pay for a festival that doesn’t have his name attached. Whether that’s good business sense doesn’t matter to Hellman, who is in his 70s and jokes about his potential legacy.\u003c/p>\n\u003cp>“Would I rather be remembered for (the festival) or some initial public offering we did when I was an investment banker?” he says. “People keep saying, ‘You’re really a philanthropist.’ I say, ‘You know what that is — it’s a cross between a misanthrope and a philanderer.”\u003c/p>\n\u003cp>Turning more serious, Hellman says he has always loved American roots music, especially banjo music. “Something just resonates, and you feel transported — not by my music but someone like Earl Scruggs,” he says of the Southern banjo player who has been acclaimed for 60 years. “I feel I could listen to that music forever.”\u003c/p>\n\u003cp>One of the new groups that Hellman recommends seeing at this year’s festival is the Ebony Hillbillies (Friday, 2pm), who bill themselves as “one of the last black string bands in the U.S.” A promoter discovered the band playing for change at Manhattan’s Grand Central Station terminal, and since then, the group has performed at venues around the country. “They have great energy,” Hellman says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UTSDd7EZzOc'\n title='//www.youtube.com/embed/UTSDd7EZzOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hellman will bring his own energy to his performance with The Wronglers on Saturday (11am), and to his speech at Sunday night’s closing, when he says he’ll talk about the power of music — of a festival like Hardly Strictly Bluegrass — to unite people of all different backgrounds, in contrast to the mid-term elections that are weeks away. “I wish the U.S. were like Speedway Meadow,” Hellman says, referring to one of the spots in Golden Gate Park where the festival is being staged. “Hundreds of thousands of people appreciating each other, saying, ‘We’re going to treat each other with kindness.’ . . . A musician doesn’t say, ‘Don’t go to that other stage; don’t listen to her.’ “\u003c/p>\n\u003cp>Hellman, who was once a stalwart of the Republican Party and is now a self-professed decline-to-state, says his involvement with the festival helped steer him to a more undefined political position. “I’ve met business people and politicians I’ve never liked, but I’ve never met a musician I’ve never not liked,” he says. “I’d rather know Earl Scruggs than the president of the United States.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back in 2006, Oakland’s unofficial hyphy ambassador Mistah FAB — like the movement itself — was a relentless ball of energy, with a 10,000-watt smile on his face. On any given day, he’d be popping up at a Youth Uprising dance battle or an Oakland City Council meeting, joining forces with the Silence the Violence campaign, or strolling into a local high school. At 24, the man born Stanley P. Cox Jr., seemed to be a bit of a goofball, a big little kid relishing his star power, decked out in gold, diamonds on his grill and a big cartoon bus around his neck. His rap persona, too, was something of a cartoon character all the kids adored, with his nasally rhymes about “getting on the yellow bus” — a.k.a “going dumb” or “wilding out” — and ghost-riding — dancing on a moving car with no one behind the wheel.\u003c/p>\n\u003cp>Now, Mistah FAB is the father of a two-year-old girl, and he’s no longer playing the class clown. In fact, he seems a little chagrined that he has encouraged so much recklessness in the past, even as he was advocating for the youth. Now, he’s thinking his future could be in politics, leading Oakland as mayor some day. At August’s Fresh Fest in Oakland’s Mosswood Park, he gave a stirring speech to the crowd, still shellshocked by the involuntary manslaughter verdict against BART Police officer Johannes Mehserle in the death of 23-year-old Oakland resident Oscar Grant.\u003c/p>\n\u003cp>“As mentors, we must realize that when we tell these young dudes, ‘Oh little homie, you tripping, you hyphy, you wild!’ — that’s not the way,” FAB told the audience. “Let’s tell these dudes, ‘I feel your pain, I know your brother got life. I know you don’t know your dad. I was in that same situation. My brother got 100 years. My mother has cancer right now, so every day, I’m appreciative to be with her. My daddy died from AIDS.’ … We can’t continue to give up on the youth. Stop saying there’s no hope for the future. We have to give them the feeling that ‘You can make it, too.'”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=U96t3tiyBcY&fs=1&hl=en_US]\u003c/p>\n\u003cp>I recently just dropped another video called, “Get Away.” To me, that’s the alternative solution. “Get Away” says before you allow yourself to crash on that highway, you just need to get away, go somewhere else. And if you can’t physically go somewhere else, mentally go there. Although your body may be trapped and enslaved, your mind is free to roam. See yourself somewhere else. \u003ci>Be\u003c/i> somewhere else. Because growing up in the inner cities that we come up in, the only thing that saves most of us is having a great, vivid imagination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These videos are a part of a collection of 10 videos I’m doing, like a semi-movie. All the videos together will tell a story. The project is called, \u003cb>We Against the World\u003c/b>, and it’s basically taking a chapter out of Tupac Shakur’s ideology of his album, \u003cb>Me Against the World\u003c/b>. All of the songs are going to tell the story of “How does Oakland feel?”\u003c/p>\n\u003cp>\u003cb>LH: Is this also going to be an album?\u003c/b>\u003c/p>\n\u003cp>FAB: No, it’s more like a mix tape/street album. The next major album that I’ll drop is called \u003cb>Liberty Forever\u003c/b>, which I’ve been working on for 2-3 years. My daughter’s name is Liberty Forever Free, so the album is named after her, but it’s also a symbol of how I am, at 28 years old, of what I’m feeling, where my mind is at. I’m feeling liberation. I’m feeling like, for the rest of my life, as long as I allow myself to think freely, be emancipated mentally, I’ll never be able to be captured, or held down, or restricted of anything. You can put up a roadblock, but you can’t block my thoughts.\u003c/p>\n\u003cp>It helps a lot. I’ve become so strong-minded that I’m not letting anything interfere with that. I don’t drink alcohol anymore. I don’t smoke weed anymore. And I’m not trying to say I’m better than anyone that does that. But that’s what works for me.\u003c/p>\n\u003cp>\u003cb>LH: What are your thoughts on the Oscar Grant verdict and the reaction to that verdict in Oakland?\u003c/b>\u003c/p>\n\u003cp>FAB: It’s like, to what level do you equate fear and justice? One loses his life, another has to do a couple months for it. Even if he had to do life, does it still make it fair that he took a life? You can escape the legal system, but universal law is the judgment passed down by a higher power that we all have to answer to on the day of our calling. That’s the way you have to look at that. That’s the only way to maintain some level of sanity, and not allow yourself to be so overly frustrated that you go out and you do something that may risk your liberty. 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"content": "\u003cp>This Sunday, August 22nd, \u003cb>The Bay Bridged\u003c/b> presents the third installment in its annual, free, all ages \u003cb>\u003ca href=\"http://www.rockmake.com\">Rock Make Street Festival\u003c/a>\u003c/b> on Treat Avenue and 18th Street from 11am-6pm. This year’s Rock Make is bigger and better than ever, with 100 arts and crafts vendors selling their wares, three stages of music and entertainment, a ton of great local indie bands, and, for the adults, a beergarden serving up some tasty brews.\u003c/p>\n\u003cp>To get you prepared for Rock Make (and \u003ca href=\"http://www.calacademy.org/events/?e=420&d=19&m=08&y=2010\">Thursday night’s Rock Make pre-party at the Academy of Sciences\u003c/a>), we’re pleased to offer this collection of songs featuring eleven of the bands performing on Sunday. More information about the many aspects of Sunday’s Rock Make Street Festival can be found at \u003cb>\u003ca href=\"http://www.rockmake.com\">RockMake.com\u003c/a>\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Tracklisting:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/leopoldandhisfiction\">\u003cb>Leopold and His Fiction\u003c/b>\u003c/a> — “Golden Friends”\u003cbr>Performing on the Harrison Stage at 5:30pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.tartufirock.net/\">\u003cb>Tartufi\u003c/b>\u003c/a> — “Dot Dash”\u003cbr>Performing on the Medithrive Stage at 3pm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/sunbeamrd\">\u003cb>Sunbeam Rd.\u003c/b>\u003c/a> — “Houseboat”\u003cbr>Performing on the Medithrive Stage at 1pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/seaofbees\">\u003cb>Sea of Bees\u003c/b>\u003c/a> — “Marmalade”\u003cbr>Performing on the Harrison Stage at 2:30pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/socialstudies101\">\u003cb>Social Studies\u003c/b>\u003c/a> – “Time Bandit”\u003cbr>Performing on the Harrison Stage at 4:30pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/abthesea\">\u003cb>AB & the Sea\u003c/b>\u003c/a> — “Bone Dry”\u003cbr>Performing on the Medithrive Stage at 4pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/thebutterflybones\">\u003cb>Butterfly Bones\u003c/b>\u003c/a> — “xoxo”\u003cbr>Performing on the Harrison Stage at 1:30pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/jhameel\">\u003cb>Jhameel\u003c/b>\u003c/a> — “Hello Cash”\u003cbr>Performing on the Medithrive Stage at 2pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/billyanddolly\">\u003cb>Billy and Dolly\u003c/b>\u003c/a> — “You Always Win”\u003cbr>Performing on the Harrison Stage at 12:30pm.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/bluerabbitmusic\">\u003cb>Blue Rabbit\u003c/b>\u003c/a> — “Sleep”\u003cbr>Performing on the Medithrive Stage at 12pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/stillflyin\">\u003cb>Still Flyin’\u003c/b>\u003c/a> — “Runaway Train II”\u003cbr>Performing on the Harrison Stage at 3:30pm.\u003c/p>\n\n",
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"content": "\u003cp>K.Flay is a Hip Hop/indie rock star who moved to the Bay Area from the Midwest to get a psych degree at Stanford. During study breaks she started rapping, and taught herself how to program and mix music. She hit the scene with seemingly effortless skill, collaborating with MC Lars, and opening for Snoop Dogg and Ludacris on college tours. Her EP comes out this fall, but for now you can grab free downloads of her single \u003ca href=\"http://rcrdlbl.com/2010/07/30/premiere_k_flay_2_weak\">2 Weak\u003c/a> and a \u003ca href=\"http://kflay.bandcamp.com/album/mashed-potatoes\">mix tape\u003c/a> of her conscious lyrics layered over familiar beats. She raps about everything from her family’s old minivan to corporate bailouts. We met up for coffee and discussed women in music, crossword puzzles, and the next \u003ca href=\"http://www.kflay.com/site/blog/oprah-rita-skeeter-and-hollow-dreams\">book review\u003c/a> she’ll be posting on her blog. If you haven’t heard her flow, check the video below.\u003c/p>\n\n\u003cp>\u003cb>K.Farr:\u003c/b>\u003ci>What are you reading right now?\u003c/i>\u003c/p>\n\u003cp>\u003cb>K.Flay:\u003c/b>I’m still reading \u003ci>War and Peace\u003c/i>. My brother asked if I wanted to read it with him, he’d just finished law school and had all this downtime. I was about to go on the road, and I kept getting sidetracked with other books. Reading it so slowly has been good in a way because I remember \u003ci>everything\u003c/i>. The fact that Tolstoy was able to create this intricate world and make it historically accurate, it’s insane.\u003c/p>\n\u003cp>\u003ci>Have you always been musically inclined?\u003c/i>\u003c/p>\n\u003cp>I sang, played guitar and messed around a little bit in High School, but nothing concerted. It happened all of a sudden. The Hip Hop stuff was unexpected, but I’m very linguistically oriented. If you look at the lyrics to a rap song, they’re ten times as long as any other type of song. Some of the greatest rock songs ever sung have only two stanzas that repeat. It’s still awesome, but it’s a different style — Radiohead is a great example. It’s a skill to embody or encapsulate something in eight sentences, but I like the opportunities for wordplay. So it was the medium that meshed best with me. I just didn’t know until I got into it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Can you pinpoint why you became interested in wordplay?\u003c/i>\u003c/p>\n\u003cp>Growing up, my dad was seriously amazing at crossword puzzles. He was legit. He would finish a Sunday \u003ci>New York Times\u003c/i> in fifteen minutes, and I was the scribe. My specialty was the overarching title, which informs all of the long clues, and usually those have wordplay. Maybe that’s somehow the root of things.\u003c/p>\n\u003cp>\u003ci>Biggest musical influences?\u003c/i>\u003c/p>\n\u003cp>As a kid I grew up listening to rock n’ roll, blues, classic stuff. Being near Chicago, there’s just that blues/funk influence in the air. I got into Hip Hop when I started creating music in college. Artists that influence my current style are strong female vocalists with a strong presence. Fiona Apple is one of my all-time heroes and Emily Haines is like my homegirl. There’s a presence when they’re singing — that emotionality and vulnerability. The ultimate album for me is Liz Phair’s \u003cb>Exile in Guyville\u003c/b>. You have songs where she’s super strong and exuding this power, and then other songs where she’s totally vulnerable and insecure.\u003c/p>\n\u003cp>\u003ci>What about women in Hip Hop, do you look up to any of them?\u003c/i>\u003c/p>\n\u003cp>My top three women in Hip Hop are in somewhat different genres. Lauryn Hill is number one because her vision when she composes something is very well-crafted and thought provoking, but it’s also beautiful to listen to. And then I love Missy Elliot and MIA.\u003c/p>\n\u003cp>\u003ci>Is it difficult to navigate such a male-dominated music scene?\u003c/i>\u003c/p>\n\u003cp>Not to use a cliché, but it is a double-edged sword. It’s good on a very surface level because I stand out. On almost any bill or track I’m on, I’m the only girl. In terms of visibility, it can be an advantage. But there’s definitely a lot that comes with it, there are a lot of connotations to what I’m doing. Even when I hear a female rapper, a lot of stuff comes up that’s not good. There are a lot of talented females in Hip Hop, but it’s a label that’s laden with many potentially bad things. It can be a hindrance in some ways, but that’s why I hope my live show wins people over. My goal for the music is that men and women take different things away from it.\u003c/p>\n\u003cp>\u003ci>Do you have a title for your soon-to-be-released EP or is it top secret?\u003c/i>\u003c/p>\n\u003cp>It’s top secret only because I’m not 100% sure, but it’ll be an Emily Dickinson thing.\u003c/p>\n\u003cp>\u003ci>What makes you the most stoked?\u003c/i>\u003c/p>\n\u003cp>Any situation or person that has the ability to reframe something and make it seem more different or profound, that’s what makes me the most excited. When things are unpredictable but awesome.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>K.Flay is performing at Cafe du Nord on Wednesday, August 18, 2010. For \u003ca href=\"http://www.cafedunord.com/\">tickets and information\u003c/a> visit cafedunord.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>K.Flay is a Hip Hop/indie rock star who moved to the Bay Area from the Midwest to get a psych degree at Stanford. During study breaks she started rapping, and taught herself how to program and mix music. She hit the scene with seemingly effortless skill, collaborating with MC Lars, and opening for Snoop Dogg and Ludacris on college tours. Her EP comes out this fall, but for now you can grab free downloads of her single \u003ca href=\"http://rcrdlbl.com/2010/07/30/premiere_k_flay_2_weak\">2 Weak\u003c/a> and a \u003ca href=\"http://kflay.bandcamp.com/album/mashed-potatoes\">mix tape\u003c/a> of her conscious lyrics layered over familiar beats. She raps about everything from her family’s old minivan to corporate bailouts. We met up for coffee and discussed women in music, crossword puzzles, and the next \u003ca href=\"http://www.kflay.com/site/blog/oprah-rita-skeeter-and-hollow-dreams\">book review\u003c/a> she’ll be posting on her blog. If you haven’t heard her flow, check the video below.\u003c/p>\n\n\u003cp>\u003cb>K.Farr:\u003c/b>\u003ci>What are you reading right now?\u003c/i>\u003c/p>\n\u003cp>\u003cb>K.Flay:\u003c/b>I’m still reading \u003ci>War and Peace\u003c/i>. My brother asked if I wanted to read it with him, he’d just finished law school and had all this downtime. I was about to go on the road, and I kept getting sidetracked with other books. Reading it so slowly has been good in a way because I remember \u003ci>everything\u003c/i>. The fact that Tolstoy was able to create this intricate world and make it historically accurate, it’s insane.\u003c/p>\n\u003cp>\u003ci>Have you always been musically inclined?\u003c/i>\u003c/p>\n\u003cp>I sang, played guitar and messed around a little bit in High School, but nothing concerted. It happened all of a sudden. The Hip Hop stuff was unexpected, but I’m very linguistically oriented. If you look at the lyrics to a rap song, they’re ten times as long as any other type of song. Some of the greatest rock songs ever sung have only two stanzas that repeat. It’s still awesome, but it’s a different style — Radiohead is a great example. It’s a skill to embody or encapsulate something in eight sentences, but I like the opportunities for wordplay. So it was the medium that meshed best with me. I just didn’t know until I got into it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Can you pinpoint why you became interested in wordplay?\u003c/i>\u003c/p>\n\u003cp>Growing up, my dad was seriously amazing at crossword puzzles. He was legit. He would finish a Sunday \u003ci>New York Times\u003c/i> in fifteen minutes, and I was the scribe. My specialty was the overarching title, which informs all of the long clues, and usually those have wordplay. Maybe that’s somehow the root of things.\u003c/p>\n\u003cp>\u003ci>Biggest musical influences?\u003c/i>\u003c/p>\n\u003cp>As a kid I grew up listening to rock n’ roll, blues, classic stuff. Being near Chicago, there’s just that blues/funk influence in the air. I got into Hip Hop when I started creating music in college. Artists that influence my current style are strong female vocalists with a strong presence. Fiona Apple is one of my all-time heroes and Emily Haines is like my homegirl. There’s a presence when they’re singing — that emotionality and vulnerability. The ultimate album for me is Liz Phair’s \u003cb>Exile in Guyville\u003c/b>. You have songs where she’s super strong and exuding this power, and then other songs where she’s totally vulnerable and insecure.\u003c/p>\n\u003cp>\u003ci>What about women in Hip Hop, do you look up to any of them?\u003c/i>\u003c/p>\n\u003cp>My top three women in Hip Hop are in somewhat different genres. Lauryn Hill is number one because her vision when she composes something is very well-crafted and thought provoking, but it’s also beautiful to listen to. And then I love Missy Elliot and MIA.\u003c/p>\n\u003cp>\u003ci>Is it difficult to navigate such a male-dominated music scene?\u003c/i>\u003c/p>\n\u003cp>Not to use a cliché, but it is a double-edged sword. It’s good on a very surface level because I stand out. On almost any bill or track I’m on, I’m the only girl. In terms of visibility, it can be an advantage. But there’s definitely a lot that comes with it, there are a lot of connotations to what I’m doing. Even when I hear a female rapper, a lot of stuff comes up that’s not good. There are a lot of talented females in Hip Hop, but it’s a label that’s laden with many potentially bad things. It can be a hindrance in some ways, but that’s why I hope my live show wins people over. My goal for the music is that men and women take different things away from it.\u003c/p>\n\u003cp>\u003ci>Do you have a title for your soon-to-be-released EP or is it top secret?\u003c/i>\u003c/p>\n\u003cp>It’s top secret only because I’m not 100% sure, but it’ll be an Emily Dickinson thing.\u003c/p>\n\u003cp>\u003ci>What makes you the most stoked?\u003c/i>\u003c/p>\n\u003cp>Any situation or person that has the ability to reframe something and make it seem more different or profound, that’s what makes me the most excited. When things are unpredictable but awesome.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>K.Flay is performing at Cafe du Nord on Wednesday, August 18, 2010. For \u003ca href=\"http://www.cafedunord.com/\">tickets and information\u003c/a> visit cafedunord.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Teen Daze’s electronic pop bridges the nostalgic and the forward-thinking at Milk; Shannon and the Clams are one of many highlights of the Total Trash Fest; Grand Lake carry the torch for atmospheric art-rock with their latest album, \u003cb>Blood Sea Dream\u003c/b>.\u003c/p>\n\u003cp>I sort of hate terms like “chillwave” and “glo-fi,” alleged microgenres built out of half-clever wordplay that were seemingly invented by and for rock critics writing trend pieces about recent developments in pop music. But while these hollow terms might imply connections between bands that aren’t related, it’s difficult not to marvel at the wealth of interesting projects utilizing nostalgic synths to compose inventive electro-pop songs. Vancouver’s \u003ca href=\"http://www.myspace.com/teendaze\">Teen Daze\u003c/a> is one of the most exciting artists in this non-genre, rising above the wealth of bedroom laptop acts with songs that feel warmly West Coast-inspired while utilizing the crisp techniques of modern electronic production. There are no ten-minute build/decay/rebuild tracks on Teen Daze’s new \u003cb>Four More Years\u003c/b> EP, which instead strikes at both the gut and the heart with a touching sense of melancholy. Teen Daze, \u003ca href=\"http://www.myspace.com/leatherjowels\">Gobble Gobble\u003c/a>, \u003ca href=\"http://www.myspace.com/byeblackbird\">Blackbird Blackbird\u003c/a>, \u003ca href=\"http://www.myspace.com/kitessailhigh\">Kites Sail High\u003c/a>, and \u003ca href=\"http://www.myspace.com/fiveng\">Fiveng\u003c/a> perform at Milk Bar August 12, 2010.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=PjhSOZVmJbE&hl=en_US&fs=1]\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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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"soldout": {
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