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"content": "\u003cp>Have you heard? Technology is moving forward so fast we can barely keep up with it. There's smart new stuff all the time, and newer always means better, right? Today I received an email press release whose subject line read \"This Companionable Robot is Equipped With Telepresence Arms.\" I don't know what that means and I didn't bother to click to find out, but that's beside the point. Whether it's a \u003cem>groundbreaking \u003c/em>new stylus for your iPad (I refuse to call it a pencil) or fascinating \u003ca href=\"http://www.thedailybeast.com/articles/2015/02/25/biological-same-sex-parent-babies-could-be-a-reality-by-2017.html\" target=\"_blank\">breakthroughs in medical technology\u003c/a>, the sense that tech is speeding up exponentially is hard to shake.\u003c/p>\n\u003cp>\u003cem>Except\u003c/em>. Except that some people really like old technology. \u003ca href=\"http://www.billboard.com/articles/business/6538585/us-vinyl-album-sales-up-by-53-in-q1\" target=\"_blank\">Vinyl album sales have grown by 260 percent since 2009 in the U.S.\u003c/a>, and the resurgence show no signs of slowing; last year, Americans bought some 9.2 million records, up from 6.1 million in 2013. The next generation of typewriter enthusiasts (without whom these \u003ca href=\"http://www.wired.com/2010/05/gallery-typewriters/\" target=\"_blank\">very stable typewriter repair shops\u003c/a> would be dying) is well-documented. Nostalgia is a powerful drug, and its role in the marketplace is not to be dismissed.\u003c/p>\n\u003cp>So where do cassette tapes figure into all of this? If you're an aesthete, they're maybe less immediately sexy than vinyl, but they have their strong points: They're durable as hell, as Jennifer Maerz pointed out in \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/loves-mixtapes-lost-the-high-school-cassettes-we-cant-throw-away/\" target=\"_blank\">this sweet piece about rediscovering her high school boyfriends' gifted mixtapes\u003c/a> via a guy she'd sold her car to a decade ago. American Public Radio's \u003cem>Marketplace\u003c/em> pointed to \u003ca href=\"http://www.marketplace.org/topics/business/music-industrys-cassette-comeback\" target=\"_blank\">the tangibility factor in this piece\u003c/a> on labels like Burger Records issuing new music on tapes, as well as gimmicky one-offs from Metallica, movie tie-ins like the \u003cem>Guardians of the Galaxy\u003c/em> soundtrack, and the so-quirky-it-hurts \u003ca href=\"http://cassettestoreday.us/\" target=\"_blank\">Cassette Store Day\u003c/a>.\u003c/p>\n\u003cp>Long story short, people are still buying 'em -- which means someone's gotta make 'em. Bloomberg Business paid a visit to one of those few remaining someones, by way of touring the National Audio Company in Springfield, Missouri. NAC reports that sales are up 20 percent from last year -- when they sold more than 10 million tapes. Check out their tour below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CMTpvr9HXeI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Business lesson (as this literature major sees it): Even when it seems like everybody in the world has moved on to the next new kind of technology, there are always going to be people who quietly love the old ways. And there may be a whole different, quiet kind of treasure involved for the guy who sticks around to give the people what they want.\u003c/p>\n\u003cp>Now if only some enterprising soul would \u003ca href=\"http://www.cnet.com/news/sony-farewells-the-cassette-walkman/\" target=\"_blank\">revive the Walkman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In the North Bay’s arts scene, sometimes the setting is worth the price of admission. From a rustic 100-year-old barn on the side of a hill to a luxurious $140 million concert hall, discovery and enrichment in the North Bay happens in a wide variety of spaces, most of them scenic.\u003c/p>\n\u003cp>Below are our top picks for must-see events happening this fall, with the added bonus of unique venues — even a redwood-lined beach along the Russian River gets into the act.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10949328\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg\" alt=\"Buddy Guy\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-10949328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop.jpg 700w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Buddy Guy \u003ccite>(Photo: Courtesy of Russian River Jazz and Blues Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Buddy Guy\u003c/h3>\n\u003ch5>Sept. 13\u003cbr>\nRussian River Blues and Jazz Festival\u003cbr>\n\u003ca href=\"http://www.russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>During the Russian River Blues and Jazz Festival, Johnson’s Beach in Guerneville serves as a living time machine, evoking the “vacation wonderland” days of west Sonoma County — redwoods along the Russian River, cheap hot dogs, a real wooden boardwalk — and Buddy Guy serves as a living connection to the history of electric blues. Together, at the Russian River Blues Festival, the two make a perfect pair. When Guy played the Johnson’s Beach stage in 2011 (opening for the late B.B. King), his lightning guitar solos and eruptive voice soared over the crowd and the river, where sunbathers floated by on innertubes and kids stomped in the shallow waters. Expect similar alchemy when the 79-year-old legend returns this year with Taj Mahal and Jackie Greene.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922862\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg\" alt='Bonnie \"Prince\" Billy' width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-10922862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie “Prince” Billy \u003ccite>(Photo: Courtesy of Gundlach-Bundschu Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Bonnie “Prince” Billy\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nGundlach-Bundschu Winery\u003cbr>\n\u003ca href=\"http://folkyeah.com/#/bpbsonoma2015/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Whenever Will Oldham (a.k.a. Bonnie “Prince” Billy) comes to town, the cosmic-folk icon doesn’t play standard rock venues — his prior appearances in the North Bay have included a tiny saloon in Pt. Reyes Station, a community hall in Monte Rio, and a former church in Santa Rosa. On his current tour, he’s booked dates in Felton, Big Sur, Nevada City, and Sonoma, where he plays inside a rustic 100-year-old barn at Gundlach-Bundschu winery. Surrounded by farm machinery and old wooden paneling, Oldham should be in his element and thus in top form, playing songs from his days with the Palace Brothers up to his recent solo material.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922865\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg\" alt=\"Conor Oberst\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10922865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conor Oberst \u003ccite>(Photo: Courtesy of Phoenix Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Conor Oberst and M. Ward\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nPhoenix Theater\u003cbr>\n\u003ca href=\"http://www.thephoenixtheater.com/event/934165-conor-oberst-m-ward-felice-petaluma/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>By day, the Phoenix Theater is a bustling nonprofit teen center under the abiding mentorship of longtime manager Tom Gaffey. By night, the hall hosts a mix of young local bands and national acts like the Red Hot Chili Peppers, Metallica, the Neville Brothers and even Hilary Duff. The theater’s booking has steadily improved in the past ten years, and this night with indie-folk icon Conor Oberst playing songs from both Bright Eyes and his solo career is a definite slam dunk. Pairing the wordy, poetic Oberst with the more plaintive, atmospheric M. Ward makes for a superb bill on its own, and adding the Felice Brothers as openers makes this a must-see show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922869\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg\" alt=\"Frank Sinatra Jr. \" width=\"400\" height=\"283\" class=\"size-thumbnail wp-image-10922869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra Jr. \u003ccite>(Photo: Courtesy of Wells Fargo Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frank Sinatra, Jr.\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nWells Fargo Center\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1818\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Come on. We must be kidding, right? Frank Sinatra, Jr.? The son of Ol’ Blue Eyes who landed such gigs as playing a district attorney on the ’70s TV show \u003cem>Adam-12\u003c/em>? But we’re not kidding, and the fact we point it out speaks to the public’s cynicism about the offspring of celebrities who attempt their own careers (we’re looking at you, \u003ca href=\"http://gawker.com/5731689/tom-hanks-son-is-a-frat-boy-rapper\" target=\"_blank\" rel=\"noopener\">Chet Haze\u003c/a>). As the conductor for his father’s touring orchestra, Frank Jr. assimilated his dad’s music nightly; combined with an eerily similar voice and a professional background that included working with Duke Ellington, he does the music justice. But beneath this tribute to his father is a weary sadness, one used to great effect in the recent Neil Hamburger film \u003cem>Entertainment\u003c/em>. Expect plenty of ring-a-ding-ding — and a little bit of emotional sting.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922863\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg\" alt=\"Conductor Bruno Ferrandis\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10922863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Bruno Ferrandis \u003ccite>(Photo: Courtesy of Santa Rosa Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Santa Rosa Symphony, \u003cem>Twin Stars\u003c/em>\u003c/h3>\n\u003ch5>Oct. 10 – 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://santarosasymphony.com/EventDetail?NPath=/Events/Twin%20Stars%20-%20October%2010,%2011%20and%2012\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Under the baton of Bruno Ferrandis, the Santa Rosa Symphony has ventured into brave waters, both by performing some of Ferrandis’ favorite modern composers (Ligeti is a personal favorite) and commissioning new works. As part of the symphony’s season opener, “Pax Universalis” is a world premiere by Arab-American composer Mohammed Fairouz; it’s followed by Mozart’s Piano Concerto No. 10 and Poulenc’s Concerto for Two Pianos, performed by twin sisters Christina and Michelle Naughton. Saint-Saens’ Symphony No. 3 rounds out the program, kicking off the symphony’s 88th season and its fourth year in residence at an acoustic marvel: the Green Music Center’s main hall.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922868\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg\" alt=\"Elizabeth Irwin\" width=\"400\" height=\"208\" class=\"size-thumbnail wp-image-10922868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Irwin \u003ccite>(Photo: Courtesy of Marin Theatre Company )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘My Mañana Comes’\u003c/h3>\n\u003ch5>Oct. 29 – Nov. 22\u003cbr>\nMarin Theatre Company\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/my-ma%C3%B1ana-comes\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Between the debate over minimum-wage earnings at restaurants and photos shared on Facebook of non-tipping customer receipts, we’ve seen an increased humanization of those who wait our tables and clear our plates. Now, a new play by Elizabeth Irwin takes the discussion away from social media and into the footlights. \u003cem>My Mañana Comes\u003c/em> follows the tight connection of four busboys working in the back of an upscale New York City restaurant — two of them undocumented, all of them sharing a collegiality of hard work and inside jokes — and the unraveling of that connection when their boss decides to pay them only in tips. A hit in New York, \u003cem>My Mañana Comes\u003c/em> opens at the Marin Theatre Company for its Bay Area premiere.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922866\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg\" alt=\"Robert Kinmont, '8 Natural Handstands' (detail), 1969/2005.\" width=\"400\" height=\"414\" class=\"size-thumbnail wp-image-10922866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Robert Kinmont, ‘8 Natural Handstands’ (detail), 1969/2005. \u003ccite>(Photo: Courtesy Alexander and Bonin Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Robert Kinmont\u003c/h3>\n\u003ch5>Oct. 31–Jan. 24\u003cbr>\ndiRosa\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/robert-kinmont/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The North Bay commendably champions its own artistic legends, but even locals are forgiven if the name Robert Kinmont doesn’t ring a bell. After all, the Sonoma-based artist took a hiatus of nearly three decades to study Buddhism and work as a carpenter. Early works featured in his first Bay Area solo exhibition in over 45 years include the wry photo series \u003cem>8 Natural Handstands\u003c/em> (1969) and the wood-and-sage sculpture \u003cem>Sit on the Floor\u003c/em> (1971). But Kinmont’s sense of humor is especially on display in his later work, made after returning to art in 2005 — a copper stage hosting an argument between a pile of dirt and a pile of feathers; a large piece titled \u003cem>TWO EDUCATED 120-MILLION-YEAR-OLD BOULDERS TRYING TO ENCOURAGE 47 YOUNG WILLOWS TO BE PATIENT\u003c/em>. In diRosa’s rural setting especially, Kinmont’s work may have found its ideal site.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922867\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg\" alt=\"Laverne Cox\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-10922867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox \u003ccite>(Courtesy of Sonoma State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Laverne Cox in Conversation\u003c/h3>\n\u003ch5>Nov. 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2784322-women-in-leadership-laverne-cox\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>As Sophia on the television series \u003cem>Orange is the New Black\u003c/em>, Laverne Cox has already played a role in certain social evolutions: the series is distributed through the streaming service Netflix instead of conventional network or cable channels, and the show features a predominantly female cast of inmates in a women’s prison. Cox is also the first openly transgender actor to be nominated for a Primetime Emmy Award, and in 2014, she became the first transgender person on the cover of \u003cem>Time\u003c/em> magazine. Smart and eloquent, Cox appears at the Green Music Center in a moderated discussion of her life and career with a message of personal freedom that transcends the transgender community.\n\u003c/p>\u003c/div>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003ch3>Kristin Chenoweth\u003c/h3>\n\u003ch5>Sept. 25\u003cbr>\nGreen Music Center\u003c/h5>\n\u003cp>The star of stage and screen performs her Broadway hits and own recordings.\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2613526-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 8–18\u003cbr>\nVarious Marin County Venues\u003c/h5>\n\u003cp>Annual festival whose lineup consistently features big stars and Oscar contenders.\u003cbr>\n\u003ca href=\"http://www.mvff.com/\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>‘Focus on Photography’\u003c/h3>\n\u003ch5>Sept. 3–Oct. 25\u003cbr>\nUniversity Art Gallery, Sonoma State University\u003c/h5>\n\u003cp>Work by Robert Mapplethorpe, Eadweard Muybridge, Carleton Watkins, Annie Leibovitz, Ansel Adams and others.\u003cbr>\n\u003ca href=\"http://www.sonoma.edu/newscenter/2015/08/ssu-art-gallery-presents-focus-on-photography.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Janeane Garofolo\u003c/h3>\n\u003ch5>Nov. 21\u003cbr>\nCity Winery\u003c/h5>\n\u003cp>Whip-smart comic whose underappreciated sardonic humor is featured in Netflix’s reboot of \u003cem>Wet Hot American Summer\u003c/em>.\u003cbr>\n\u003ca href=\"http://www.citywinery.com/napa/tickets/janeane-garofalo-early-show-11-21.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mavis Staples and Joan Osborne\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nUptown Theatre\u003c/h5>\n\u003cp>The gospel singer who’s made a string of excellent crossover albums appears with her sister-in-spirit.\u003cbr>\n\u003ca href=\"http://www.uptowntheatrenapa.com/event/mavis-staples-and-joan-osborne/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "In the North Bay's arts scene, sometimes the setting is worth the price of admission.",
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"title": "Across the Bridge: North Bay Arts on Tap for Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In the North Bay’s arts scene, sometimes the setting is worth the price of admission. From a rustic 100-year-old barn on the side of a hill to a luxurious $140 million concert hall, discovery and enrichment in the North Bay happens in a wide variety of spaces, most of them scenic.\u003c/p>\n\u003cp>Below are our top picks for must-see events happening this fall, with the added bonus of unique venues — even a redwood-lined beach along the Russian River gets into the act.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10949328\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg\" alt=\"Buddy Guy\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-10949328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop.jpg 700w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Buddy Guy \u003ccite>(Photo: Courtesy of Russian River Jazz and Blues Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Buddy Guy\u003c/h3>\n\u003ch5>Sept. 13\u003cbr>\nRussian River Blues and Jazz Festival\u003cbr>\n\u003ca href=\"http://www.russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>During the Russian River Blues and Jazz Festival, Johnson’s Beach in Guerneville serves as a living time machine, evoking the “vacation wonderland” days of west Sonoma County — redwoods along the Russian River, cheap hot dogs, a real wooden boardwalk — and Buddy Guy serves as a living connection to the history of electric blues. Together, at the Russian River Blues Festival, the two make a perfect pair. When Guy played the Johnson’s Beach stage in 2011 (opening for the late B.B. King), his lightning guitar solos and eruptive voice soared over the crowd and the river, where sunbathers floated by on innertubes and kids stomped in the shallow waters. Expect similar alchemy when the 79-year-old legend returns this year with Taj Mahal and Jackie Greene.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922862\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg\" alt='Bonnie \"Prince\" Billy' width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-10922862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie “Prince” Billy \u003ccite>(Photo: Courtesy of Gundlach-Bundschu Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Bonnie “Prince” Billy\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nGundlach-Bundschu Winery\u003cbr>\n\u003ca href=\"http://folkyeah.com/#/bpbsonoma2015/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Whenever Will Oldham (a.k.a. Bonnie “Prince” Billy) comes to town, the cosmic-folk icon doesn’t play standard rock venues — his prior appearances in the North Bay have included a tiny saloon in Pt. Reyes Station, a community hall in Monte Rio, and a former church in Santa Rosa. On his current tour, he’s booked dates in Felton, Big Sur, Nevada City, and Sonoma, where he plays inside a rustic 100-year-old barn at Gundlach-Bundschu winery. Surrounded by farm machinery and old wooden paneling, Oldham should be in his element and thus in top form, playing songs from his days with the Palace Brothers up to his recent solo material.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922865\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg\" alt=\"Conor Oberst\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10922865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conor Oberst \u003ccite>(Photo: Courtesy of Phoenix Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Conor Oberst and M. Ward\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nPhoenix Theater\u003cbr>\n\u003ca href=\"http://www.thephoenixtheater.com/event/934165-conor-oberst-m-ward-felice-petaluma/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>By day, the Phoenix Theater is a bustling nonprofit teen center under the abiding mentorship of longtime manager Tom Gaffey. By night, the hall hosts a mix of young local bands and national acts like the Red Hot Chili Peppers, Metallica, the Neville Brothers and even Hilary Duff. The theater’s booking has steadily improved in the past ten years, and this night with indie-folk icon Conor Oberst playing songs from both Bright Eyes and his solo career is a definite slam dunk. Pairing the wordy, poetic Oberst with the more plaintive, atmospheric M. Ward makes for a superb bill on its own, and adding the Felice Brothers as openers makes this a must-see show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922869\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg\" alt=\"Frank Sinatra Jr. \" width=\"400\" height=\"283\" class=\"size-thumbnail wp-image-10922869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra Jr. \u003ccite>(Photo: Courtesy of Wells Fargo Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frank Sinatra, Jr.\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nWells Fargo Center\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1818\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Come on. We must be kidding, right? Frank Sinatra, Jr.? The son of Ol’ Blue Eyes who landed such gigs as playing a district attorney on the ’70s TV show \u003cem>Adam-12\u003c/em>? But we’re not kidding, and the fact we point it out speaks to the public’s cynicism about the offspring of celebrities who attempt their own careers (we’re looking at you, \u003ca href=\"http://gawker.com/5731689/tom-hanks-son-is-a-frat-boy-rapper\" target=\"_blank\" rel=\"noopener\">Chet Haze\u003c/a>). As the conductor for his father’s touring orchestra, Frank Jr. assimilated his dad’s music nightly; combined with an eerily similar voice and a professional background that included working with Duke Ellington, he does the music justice. But beneath this tribute to his father is a weary sadness, one used to great effect in the recent Neil Hamburger film \u003cem>Entertainment\u003c/em>. Expect plenty of ring-a-ding-ding — and a little bit of emotional sting.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922863\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg\" alt=\"Conductor Bruno Ferrandis\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10922863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Bruno Ferrandis \u003ccite>(Photo: Courtesy of Santa Rosa Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Santa Rosa Symphony, \u003cem>Twin Stars\u003c/em>\u003c/h3>\n\u003ch5>Oct. 10 – 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://santarosasymphony.com/EventDetail?NPath=/Events/Twin%20Stars%20-%20October%2010,%2011%20and%2012\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Under the baton of Bruno Ferrandis, the Santa Rosa Symphony has ventured into brave waters, both by performing some of Ferrandis’ favorite modern composers (Ligeti is a personal favorite) and commissioning new works. As part of the symphony’s season opener, “Pax Universalis” is a world premiere by Arab-American composer Mohammed Fairouz; it’s followed by Mozart’s Piano Concerto No. 10 and Poulenc’s Concerto for Two Pianos, performed by twin sisters Christina and Michelle Naughton. Saint-Saens’ Symphony No. 3 rounds out the program, kicking off the symphony’s 88th season and its fourth year in residence at an acoustic marvel: the Green Music Center’s main hall.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922868\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg\" alt=\"Elizabeth Irwin\" width=\"400\" height=\"208\" class=\"size-thumbnail wp-image-10922868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Irwin \u003ccite>(Photo: Courtesy of Marin Theatre Company )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘My Mañana Comes’\u003c/h3>\n\u003ch5>Oct. 29 – Nov. 22\u003cbr>\nMarin Theatre Company\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/my-ma%C3%B1ana-comes\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Between the debate over minimum-wage earnings at restaurants and photos shared on Facebook of non-tipping customer receipts, we’ve seen an increased humanization of those who wait our tables and clear our plates. Now, a new play by Elizabeth Irwin takes the discussion away from social media and into the footlights. \u003cem>My Mañana Comes\u003c/em> follows the tight connection of four busboys working in the back of an upscale New York City restaurant — two of them undocumented, all of them sharing a collegiality of hard work and inside jokes — and the unraveling of that connection when their boss decides to pay them only in tips. A hit in New York, \u003cem>My Mañana Comes\u003c/em> opens at the Marin Theatre Company for its Bay Area premiere.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922866\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg\" alt=\"Robert Kinmont, '8 Natural Handstands' (detail), 1969/2005.\" width=\"400\" height=\"414\" class=\"size-thumbnail wp-image-10922866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Robert Kinmont, ‘8 Natural Handstands’ (detail), 1969/2005. \u003ccite>(Photo: Courtesy Alexander and Bonin Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Robert Kinmont\u003c/h3>\n\u003ch5>Oct. 31–Jan. 24\u003cbr>\ndiRosa\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/robert-kinmont/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The North Bay commendably champions its own artistic legends, but even locals are forgiven if the name Robert Kinmont doesn’t ring a bell. After all, the Sonoma-based artist took a hiatus of nearly three decades to study Buddhism and work as a carpenter. Early works featured in his first Bay Area solo exhibition in over 45 years include the wry photo series \u003cem>8 Natural Handstands\u003c/em> (1969) and the wood-and-sage sculpture \u003cem>Sit on the Floor\u003c/em> (1971). But Kinmont’s sense of humor is especially on display in his later work, made after returning to art in 2005 — a copper stage hosting an argument between a pile of dirt and a pile of feathers; a large piece titled \u003cem>TWO EDUCATED 120-MILLION-YEAR-OLD BOULDERS TRYING TO ENCOURAGE 47 YOUNG WILLOWS TO BE PATIENT\u003c/em>. In diRosa’s rural setting especially, Kinmont’s work may have found its ideal site.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922867\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg\" alt=\"Laverne Cox\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-10922867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox \u003ccite>(Courtesy of Sonoma State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Laverne Cox in Conversation\u003c/h3>\n\u003ch5>Nov. 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2784322-women-in-leadership-laverne-cox\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>As Sophia on the television series \u003cem>Orange is the New Black\u003c/em>, Laverne Cox has already played a role in certain social evolutions: the series is distributed through the streaming service Netflix instead of conventional network or cable channels, and the show features a predominantly female cast of inmates in a women’s prison. Cox is also the first openly transgender actor to be nominated for a Primetime Emmy Award, and in 2014, she became the first transgender person on the cover of \u003cem>Time\u003c/em> magazine. Smart and eloquent, Cox appears at the Green Music Center in a moderated discussion of her life and career with a message of personal freedom that transcends the transgender community.\n\u003c/p>\u003c/div>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003ch3>Kristin Chenoweth\u003c/h3>\n\u003ch5>Sept. 25\u003cbr>\nGreen Music Center\u003c/h5>\n\u003cp>The star of stage and screen performs her Broadway hits and own recordings.\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2613526-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 8–18\u003cbr>\nVarious Marin County Venues\u003c/h5>\n\u003cp>Annual festival whose lineup consistently features big stars and Oscar contenders.\u003cbr>\n\u003ca href=\"http://www.mvff.com/\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>‘Focus on Photography’\u003c/h3>\n\u003ch5>Sept. 3–Oct. 25\u003cbr>\nUniversity Art Gallery, Sonoma State University\u003c/h5>\n\u003cp>Work by Robert Mapplethorpe, Eadweard Muybridge, Carleton Watkins, Annie Leibovitz, Ansel Adams and others.\u003cbr>\n\u003ca href=\"http://www.sonoma.edu/newscenter/2015/08/ssu-art-gallery-presents-focus-on-photography.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Janeane Garofolo\u003c/h3>\n\u003ch5>Nov. 21\u003cbr>\nCity Winery\u003c/h5>\n\u003cp>Whip-smart comic whose underappreciated sardonic humor is featured in Netflix’s reboot of \u003cem>Wet Hot American Summer\u003c/em>.\u003cbr>\n\u003ca href=\"http://www.citywinery.com/napa/tickets/janeane-garofalo-early-show-11-21.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mavis Staples and Joan Osborne\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nUptown Theatre\u003c/h5>\n\u003cp>The gospel singer who’s made a string of excellent crossover albums appears with her sister-in-spirit.\u003cbr>\n\u003ca href=\"http://www.uptowntheatrenapa.com/event/mavis-staples-and-joan-osborne/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Introducing 'The Cooler,' Your New Favorite Podcast",
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"content": "\u003cp>What is the summer good for? Floating down the river, sitting on stoops eating popsicles, getting awkward tan lines. Oh, and secretly working on a podcast!\u003c/p>\n\u003cp>Surprise! KQED Pop will now feature a weekly pop culture podcast called \u003cem>The Cooler\u003c/em>, starting September 16th!\u003c/p>\n\u003cp>Wondering what it will sound like? Well, you're in luck because we put together a cute little preview for you:\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/09/TheCoolerPreview.mp3\" title=\"Introducing 'The Cooler,' Your New Favorite Podcast\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>And, in case you want to get better acquainted with the faces behind the mics, this teaser trailer is for you:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q45vl30wy9o\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/16/thecooler300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of \u003cem>The Cooler\u003c/em>!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/pop/category/the-cooler/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Come back for our debut episode on the 16th and come hang with us at \u003ca href=\"http://ww2.kqed.org/pop/2015/09/03/kqed-pop-is-throwing-a-high-school-dance-party-with-w-kamau-bell/\" target=\"_blank\">our launch party/high school dance\u003c/a>, which will feature comedy by \u003ca href=\"http://www.wkamaubell.com/\" target=\"_blank\">W. Kamau Bell\u003c/a>, vogue-ing by \u003ca href=\"https://www.facebook.com/VogueTone\" target=\"_blank\">Jocquese Whitfield\u003c/a>, and music by \u003ca href=\"https://www.youtube.com/watch?v=DHau4cOdgp0\" target=\"_blank\">Brontez Purnell and The Younger Lovers\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/kqed-pop-presents-the-cooler-podcast-tickets-18457623248\" target=\"_blank\">Buy your tickets now\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is the summer good for? Floating down the river, sitting on stoops eating popsicles, getting awkward tan lines. Oh, and secretly working on a podcast!\u003c/p>\n\u003cp>Surprise! KQED Pop will now feature a weekly pop culture podcast called \u003cem>The Cooler\u003c/em>, starting September 16th!\u003c/p>\n\u003cp>Wondering what it will sound like? Well, you're in luck because we put together a cute little preview for you:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>And, in case you want to get better acquainted with the faces behind the mics, this teaser trailer is for you:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/q45vl30wy9o'\n title='//www.youtube.com/embed/q45vl30wy9o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/16/thecooler300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of \u003cem>The Cooler\u003c/em>!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/pop/category/the-cooler/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Come back for our debut episode on the 16th and come hang with us at \u003ca href=\"http://ww2.kqed.org/pop/2015/09/03/kqed-pop-is-throwing-a-high-school-dance-party-with-w-kamau-bell/\" target=\"_blank\">our launch party/high school dance\u003c/a>, which will feature comedy by \u003ca href=\"http://www.wkamaubell.com/\" target=\"_blank\">W. Kamau Bell\u003c/a>, vogue-ing by \u003ca href=\"https://www.facebook.com/VogueTone\" target=\"_blank\">Jocquese Whitfield\u003c/a>, and music by \u003ca href=\"https://www.youtube.com/watch?v=DHau4cOdgp0\" target=\"_blank\">Brontez Purnell and The Younger Lovers\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/kqed-pop-presents-the-cooler-podcast-tickets-18457623248\" target=\"_blank\">Buy your tickets now\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Do politicians never learn?\u003c/p>\n\u003cp>Or, in the case of our collective crazy racist uncle Donald Trump, are they just so rich they don't give a damn?\u003c/p>\n\u003cp>In yet the latest example of a presidential candidate using a pop song during their campaign without asking the artist's permission, the walking toupée chose to use R.E.M.'s classic \"It's the End of the World\" today in a\u003ca href=\"http://www.c-span.org/video/?c4550293/donald-trump-introduced-anti-iran-deal-rally-end-world\" target=\"_blank\"> stump speech he gave at an anti-Iran deal rally in Washington, D.C. \u003c/a>This is notable, stupid and entertaining for a number of reasons, not the least of which is that Trump's advisers almost certainly sat around trying to figure out how to show that he's \u003ca href=\"https://www.youtube.com/watch?v=UeS-Xb5u4-U\" target=\"_blank\">\"with it\" and \"hip\"\u003c/a> and what they came up with was an alt-rock radio single from 1987.\u003c/p>\n\u003cp>Anyway, to precisely no one's surprise, the (disbanded) band fired back within a few hours. First they released this official statement on the \u003ca href=\"https://www.facebook.com/REMhq/posts/10153181864262984\" target=\"_blank\">R.E.M. Facebook page\u003c/a>, which asks -- well, it basically asks if we can please not be petty enough to write this blog post about it:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\">\u003cimg class=\"wp-image-18018 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\" alt=\"rem\" width=\"489\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem.png 493w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem-400x184.png 400w\" sizes=\"(max-width: 489px) 100vw, 489px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And we might not have written one, if they had left it at that! But then Michael Stipe -- sweet, Buddhist-leaning, vegetarian Michael Stipe -- followed up with this, via R.E.M. bassist Mike Mills' \u003ca href=\"https://twitter.com/m_millsey/\" target=\"_blank\">Twitter account: \u003c/a>\u003c/p>\n\u003cp>\"Go f*** yourselves, the lot of you--you sad, attention grabbing, power-hungry little men. Do not use our music or my voice for your moronic charade of a campaign. -- Michael Stipe\"\u003c/p>\n\u003cp>That gets you a blog post, Stipey.\u003c/p>\n\u003cp>This is \u003ca href=\"http://www.rollingstone.com/music/lists/stop-using-my-song-34-artists-who-fought-politicians-over-their-music-20150708\" target=\"_blank\">nothing new in politics\u003c/a>, of course, but this makes Trump a repeat offender within a very short, ballsy span of time. In June, after he used \"Rockin' in the Free World\" during a speech, Neil Young's camp raised objections -- because Young, who's Canadian, is a fan of Bernie Sanders. \u003ca href=\"http://www.stereogum.com/1810412/bernie-sanders-takes-over-neil-youngs-rockin-in-the-free-world/video/\" target=\"_blank\">Sanders picked it up the next week. \u003c/a>\u003c/p>\n\u003cp>Humble suggestion for The Donald: \u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/wanna-vote-like-your-favorite-musicians-heres-how/\" target=\"_blank\">Maybe give Ted Nugent a call. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0GFRcFm-aY\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do politicians never learn?\u003c/p>\n\u003cp>Or, in the case of our collective crazy racist uncle Donald Trump, are they just so rich they don't give a damn?\u003c/p>\n\u003cp>In yet the latest example of a presidential candidate using a pop song during their campaign without asking the artist's permission, the walking toupée chose to use R.E.M.'s classic \"It's the End of the World\" today in a\u003ca href=\"http://www.c-span.org/video/?c4550293/donald-trump-introduced-anti-iran-deal-rally-end-world\" target=\"_blank\"> stump speech he gave at an anti-Iran deal rally in Washington, D.C. \u003c/a>This is notable, stupid and entertaining for a number of reasons, not the least of which is that Trump's advisers almost certainly sat around trying to figure out how to show that he's \u003ca href=\"https://www.youtube.com/watch?v=UeS-Xb5u4-U\" target=\"_blank\">\"with it\" and \"hip\"\u003c/a> and what they came up with was an alt-rock radio single from 1987.\u003c/p>\n\u003cp>Anyway, to precisely no one's surprise, the (disbanded) band fired back within a few hours. First they released this official statement on the \u003ca href=\"https://www.facebook.com/REMhq/posts/10153181864262984\" target=\"_blank\">R.E.M. Facebook page\u003c/a>, which asks -- well, it basically asks if we can please not be petty enough to write this blog post about it:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\">\u003cimg class=\"wp-image-18018 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\" alt=\"rem\" width=\"489\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem.png 493w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem-400x184.png 400w\" sizes=\"(max-width: 489px) 100vw, 489px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And we might not have written one, if they had left it at that! But then Michael Stipe -- sweet, Buddhist-leaning, vegetarian Michael Stipe -- followed up with this, via R.E.M. bassist Mike Mills' \u003ca href=\"https://twitter.com/m_millsey/\" target=\"_blank\">Twitter account: \u003c/a>\u003c/p>\n\u003cp>\"Go f*** yourselves, the lot of you--you sad, attention grabbing, power-hungry little men. Do not use our music or my voice for your moronic charade of a campaign. -- Michael Stipe\"\u003c/p>\n\u003cp>That gets you a blog post, Stipey.\u003c/p>\n\u003cp>This is \u003ca href=\"http://www.rollingstone.com/music/lists/stop-using-my-song-34-artists-who-fought-politicians-over-their-music-20150708\" target=\"_blank\">nothing new in politics\u003c/a>, of course, but this makes Trump a repeat offender within a very short, ballsy span of time. In June, after he used \"Rockin' in the Free World\" during a speech, Neil Young's camp raised objections -- because Young, who's Canadian, is a fan of Bernie Sanders. \u003ca href=\"http://www.stereogum.com/1810412/bernie-sanders-takes-over-neil-youngs-rockin-in-the-free-world/video/\" target=\"_blank\">Sanders picked it up the next week. \u003c/a>\u003c/p>\n\u003cp>Humble suggestion for The Donald: \u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/wanna-vote-like-your-favorite-musicians-heres-how/\" target=\"_blank\">Maybe give Ted Nugent a call. \u003c/a>\u003c/p>\n\u003cp>\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/Z0GFRcFm-aY'\n title='//www.youtube.com/embed/Z0GFRcFm-aY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hiero Day 2015: High Temps, High Spirits and Hip-Hop Fest Growing Pains [VIDEO]",
"title": "Hiero Day 2015: High Temps, High Spirits and Hip-Hop Fest Growing Pains [VIDEO]",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Hieroglyphics, the collective that in the early '90s birthed Del the Funkee Homosapien, Souls of Mischief, and other mainstays of the fiercely independent sound that would come to define Bay Area hip-hop for decades, has always been under-celebrated on a national scale.\u003c/p>\n\u003cp>There are myriad reasons for this: a lack of corporate promotion, the sociopolitical atmosphere in Oakland at the time the Hiero guys were coming up (when police crackdowns on clubs left the East Bay with very few stages for musicians, period) -- but it's nearly undisputed, to the point that this permanent underdog status is woven into the scene's mythology. It's a source of frustration, and it's a source of very deep pride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rRfRmPqAkBo&feature=youtu.be\u003c/p>\n\u003cp>Let all of that serve as color for the following: In 2013, Mayor Jean Quan named Hiero Day an official city holiday. If you had told anyone in 1993 that the City of Oakland would at some point formally recognize the positive contributions that hip-hop had made to the community -- to youth, to education, to non-violence -- they probably would have laughed in your face.\u003c/p>\n\u003cp>So what changed? In 2012, after a Souls of Mischief fan posted on Facebook that he planned to introduce as many people as possible to Hieroglyphics' music on Sept. 3, or 9/3 -- in honor of the group's iconic record \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=y1Yzpo5FcYg\" target=\"_blank\">93 'til Infinity\u003c/a>\u003c/em> -- Hieroglyphics took it one step further and decided to throw a block party in downtown Oakland, with free music, food, beer, you name it. As many as 10,000 people showed up. There were babies, grandparents, and everything in between. It felt scrappy in comparison with larger corporate festivals, but wasn't that kind of the point? Local hip-hop legends mingled with fans; the pungent scent of weed mixed with barbecue smoke wafted through the air. It was an \"only in Oakland\" kind of feeling. By 2014, attendance hit 20,000.\u003c/p>\n\u003cfigure id=\"attachment_18000\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/FullSizeRender-4.jpg\">\u003cimg class=\"size-thumbnail wp-image-18000\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/FullSizeRender-4-400x394.jpg\" alt=\"Zion I at Hiero Day 2015. Photo: Instagram / dj_tre\" width=\"400\" height=\"394\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zion I at Hiero Day 2015. Photo: Instagram / dj_tre\u003c/figcaption>\u003c/figure>\n\u003cp>As for this year? The lineup was stacked, with The Coup, Tha Alkoholiks, Aceyalone, Compton's Most Wanted, Luniz, Peanut Butter Wolf, Zion I, and a slew of other West Coast hip-hop luminaries packing three stages around 3rd and Chestnut in Downtown Oakland. But the discussion on everyone's lips -- okay, aside from the fact that unannounced guest Dru Down appeared to perform \"I Got 5 On It\" with Luniz -- was that organizers were charging admission. Presale was $19.93; same-day tickets at the door were $35 -- a relatively modest price for an eight-hour lineup of legends, but make no mistake: That's a formidable expense for plenty of people, and there was no question it changed the feeling of the fest. (We're still waiting on official turnout numbers, but it seemed more sparse than usual, especially early in the day.) Plus, the little gripes that are happily tossed aside when an event is free -- not enough shade or water planned for a 92-degree day, overflowing trash cans and Port-A-Pottys -- become more substantial gripes when organizers are charging, ostensibly, to cover the cost of preventing those very issues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, as the blazing sun finally set in downtown Oakland and little ones were hoisted onto shoulders while the Hiero guys finally took the stage and performed \"93 'til Infinity,\" you would've been hard-pressed to find a bad mood on the block. Backstage felt like a family reunion of the past 30 years of West Coast hip-hop; rappers and rappers' toddlers ran amok in nearly equal numbers, with sweaty, happy hugs everywhere you looked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you haven't heard, Oakland -- still undersung, undercelebrated, and often misunderstood -- is going through some changes lately. Its favorite holiday will probably keep doing that too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hieroglyphics, the collective that in the early '90s birthed Del the Funkee Homosapien, Souls of Mischief, and other mainstays of the fiercely independent sound that would come to define Bay Area hip-hop for decades, has always been under-celebrated on a national scale.\u003c/p>\n\u003cp>There are myriad reasons for this: a lack of corporate promotion, the sociopolitical atmosphere in Oakland at the time the Hiero guys were coming up (when police crackdowns on clubs left the East Bay with very few stages for musicians, period) -- but it's nearly undisputed, to the point that this permanent underdog status is woven into the scene's mythology. It's a source of frustration, and it's a source of very deep pride.\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/rRfRmPqAkBo'\n title='//www.youtube.com/embed/rRfRmPqAkBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let all of that serve as color for the following: In 2013, Mayor Jean Quan named Hiero Day an official city holiday. If you had told anyone in 1993 that the City of Oakland would at some point formally recognize the positive contributions that hip-hop had made to the community -- to youth, to education, to non-violence -- they probably would have laughed in your face.\u003c/p>\n\u003cp>So what changed? In 2012, after a Souls of Mischief fan posted on Facebook that he planned to introduce as many people as possible to Hieroglyphics' music on Sept. 3, or 9/3 -- in honor of the group's iconic record \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=y1Yzpo5FcYg\" target=\"_blank\">93 'til Infinity\u003c/a>\u003c/em> -- Hieroglyphics took it one step further and decided to throw a block party in downtown Oakland, with free music, food, beer, you name it. As many as 10,000 people showed up. There were babies, grandparents, and everything in between. It felt scrappy in comparison with larger corporate festivals, but wasn't that kind of the point? Local hip-hop legends mingled with fans; the pungent scent of weed mixed with barbecue smoke wafted through the air. It was an \"only in Oakland\" kind of feeling. By 2014, attendance hit 20,000.\u003c/p>\n\u003cfigure id=\"attachment_18000\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/FullSizeRender-4.jpg\">\u003cimg class=\"size-thumbnail wp-image-18000\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/FullSizeRender-4-400x394.jpg\" alt=\"Zion I at Hiero Day 2015. Photo: Instagram / dj_tre\" width=\"400\" height=\"394\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/FullSizeRender-4.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zion I at Hiero Day 2015. Photo: Instagram / dj_tre\u003c/figcaption>\u003c/figure>\n\u003cp>As for this year? The lineup was stacked, with The Coup, Tha Alkoholiks, Aceyalone, Compton's Most Wanted, Luniz, Peanut Butter Wolf, Zion I, and a slew of other West Coast hip-hop luminaries packing three stages around 3rd and Chestnut in Downtown Oakland. But the discussion on everyone's lips -- okay, aside from the fact that unannounced guest Dru Down appeared to perform \"I Got 5 On It\" with Luniz -- was that organizers were charging admission. Presale was $19.93; same-day tickets at the door were $35 -- a relatively modest price for an eight-hour lineup of legends, but make no mistake: That's a formidable expense for plenty of people, and there was no question it changed the feeling of the fest. (We're still waiting on official turnout numbers, but it seemed more sparse than usual, especially early in the day.) Plus, the little gripes that are happily tossed aside when an event is free -- not enough shade or water planned for a 92-degree day, overflowing trash cans and Port-A-Pottys -- become more substantial gripes when organizers are charging, ostensibly, to cover the cost of preventing those very issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, as the blazing sun finally set in downtown Oakland and little ones were hoisted onto shoulders while the Hiero guys finally took the stage and performed \"93 'til Infinity,\" you would've been hard-pressed to find a bad mood on the block. Backstage felt like a family reunion of the past 30 years of West Coast hip-hop; rappers and rappers' toddlers ran amok in nearly equal numbers, with sweaty, happy hugs everywhere you looked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you haven't heard, Oakland -- still undersung, undercelebrated, and often misunderstood -- is going through some changes lately. Its favorite holiday will probably keep doing that too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dear reader! We find ourselves on a Friday afternoon before Labor Day weekend, perched on the precipice of three long days of freedom, cookouts and \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hiero-day/\" target=\"_blank\">massive block parties\u003c/a>.\u003c/p>\n\u003cp>You're not doing any \u003cem>actual work\u003c/em>, are you? Of course not. So there's no time like the present to catch up on what you missed this week in pop culture.\u003c/p>\n\u003cp>\u003cstrong>1. American hero Robert Wright ran back into a burning building in Fresno, after making sure his family was okay, to save a rack of barbecued ribs.\u003c/strong>\u003c/p>\n\u003cp>“First thing, I got my kids, and I thought about my ribs. Like, I didn’t want my ribs to burn and stuff because I take pride in what I do, man,” \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fresno-ribs-man-interview-html-20150903-htmlstory.html\" target=\"_blank\">said the West Oakland native and instantaneous worldwide role model\u003c/a>. Something to think about at your BBQs this weekend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zCLpRR-wVo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\n\u003cp>https://vimeo.com/138055103\u003c/p>\n\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViwtNLUqkMY\u003c/p>\n\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGxHBjVc4Rw\u003c/p>\n\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qQNY_nihI90\u003c/p>\n\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\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/ViwtNLUqkMY'\n title='//www.youtube.com/embed/ViwtNLUqkMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\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/rGxHBjVc4Rw'\n title='//www.youtube.com/embed/rGxHBjVc4Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qQNY_nihI90'\n title='//www.youtube.com/embed/qQNY_nihI90'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Did you hate your high school formal or just want to relive your teenage glory? Well, you’re in luck! Bust out your corsages and boutonnieres because we're throwing a high school dance party in honor of our brand new podcast, \u003cem>The Cooler\u003c/em>, which launches September 16th!\u003c/p>\n\u003cp>My cohosts (Jamedra Brown Fleischman and Carly Severn) and I will be taking the stage on September 22nd at The Chapel for a live podcast taping with:\u003c/p>\n\u003cp>Comedy from \u003ca href=\"http://www.wkamaubell.com/\" rel=\"nofollow\">W. Kamau Bell\u003c/a>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WH7b4QCPuXc\u003c/p>\n\u003cp>Vogueing by \u003ca href=\"https://www.facebook.com/VogueTone\" rel=\"nofollow\">Jocquese Whitfield\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9BPcmmthP20\u003c/p>\n\u003cp>And music by \u003ca href=\"https://www.facebook.com/brontez.purnell\" rel=\"nofollow\">Brontez Purnell\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=DHau4cOdgp0\" rel=\"nofollow\">Younger Lovers\u003c/a>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84OK_3nTszA\u003c/p>\n\u003cp>There will also be live portrait drawing by \u003ca href=\"https://twitter.com/cobratalon\" target=\"_blank\">Thien Pham\u003c/a>, an awkward photo booth for you and your date, and a night of dancing to the best high school dance music from 1990-2005!\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/kqed-pop-presents-the-cooler-podcast-tickets-18457623248\" target=\"_blank\">Buy your tickets now!\u003c/a>\u003c/p>\n\u003cp>And if you have any good stories about high school dances, send 'em to pop@kqed.org. We might feature them at the event and on our podcast!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See y'all on September 22nd!\u003c/p>\n\n",
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"content": "\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More than a thousand women of all ages gathered at Richmond’s WWII Home Front National Historical Park a couple of weeks ago to to commemorate the women who worked in shipyards and factories during World War II — and to set a new world record for “The Largest Gathering of People Dressed as Rosie the Riveter.”\u003c/p>\n\u003cp>Several multi-generational families were among the hordes dressed in Rosie’s unmistakable uniform of red polka dot head scarf and rolled up denim work shirt. The members of one such family, 9-year-old Julia Dolan, her mom Jennifer Dolan, 43, and grandma Carol Burns, 71, talked to KQED Arts about the importance of embodying the bicep-flexing, feminist icon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LGOfv3uXYBk\u003c/p>\n\u003cp>\u003cstrong>What is your personal connection to Rosie the Riveter?\u003c/strong>\u003c/p>\n\u003cp>Carol: I was born in California at the end of 1943 and earlier that year my mother completed training in aircraft production. Because of her unplanned pregnancy with me, she was unable to go to work at the North American Aviation plant in Fresno. However, it was always a source of pride for her that she was able to complete the training.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jennifer: Even though my grandmother didn’t do factory work, like so many other people on the home front, she worked hard and kept her family and the country moving forward. Celebrating Rosie the Riveter feels like I am honoring her.\u003c/p>\n\u003cp>Julia: When I was in third grade I bought a book called “Heroes of World War II” and I loved reading about the Rosies. I don’t think I would have liked to do that kind of work. It would have been hard to live during a war. But I would have done it for the war effort just like the Rosies.\u003c/p>\n\u003cp>\u003cstrong>What was it like at the Rosie rally? What did you learn?\u003c/strong>\u003c/p>\n\u003cp>Carol: We were lucky enough to get to the “We Can Do It!” sign before the line got ridiculously long, and got some great photos. I was delighted to see the way women had dressed up their little girls, infants, and even dogs. There were Rosies of every age, shape, and size. I couldn’t keep from smiling. What an event! Of course it helps that we broke the record for attendance also.\u003c/p>\n\u003cp>Jennifer: Getting our picture taken with some original Rosies was the highlight. I thought it was hilarious that so many of them thought the red and white bandanas were funny because they had never heard of anyone who actually wore them. One welder told us that she wore a sweatshirt and men’s jeans to work, because at that time there were no jeans for women. I also thought it was very empowering to see women of all colors representing Rosie. The posters usually show a young, white Rosie, which isn’t fair. Rosies looked like all women.\u003c/p>\n\u003cp>Julia: I got to meet some of the original Rosies. I also loved reading the quotes on the Rosie Memorial and learning how many women volunteered right after Pearl Harbor was bombed.\u003c/p>\n\u003cp>\u003cstrong>Why is the Rosie the Riveter an important symbol?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie the Riveter represents the unsung hero, the person who works hard day after day but doesn’t always get proper recognition or sufficient financial reward. She’s also a symbol of tremendous optimism. For a while, not only was there equal pay for equal work, but there was a concerted effort to help working parents both serve their country and support their families. This all ended when war production ended. But I often think about how much stronger our country would be today if we made it easier for working parents to do everything that needs to be done.\u003c/p>\n\u003cfigure id=\"attachment_10928351\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10928351 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg\" alt=\"Jennifer, Julia, and Jennifer's sister Emily at the Rosie rally. Photo by Carol Burns.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg 1352w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer, Julia, and Jennifer’s sister Emily at the Rosie rally. (Photo by Carol Burns)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why is it important that the Rosie the Riveter tradition lives on?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie is one of the most recognizable symbols of the strength and determination of women. But it’s important that people learn the whole story. She was a hero. But she was also resented at times, sexualized by popular culture and in most cases forced back into domesticity when the men came home and wanted their jobs back. In most cases, the recognition and respect she got during wartime didn’t continue.\u003c/p>\n\u003cp>Carol: The amazing effort to produce ships couldn’t have been accomplished without the help of women workers. It was an opportunity for women to show what they could do if no one was holding them back. The example they set was the beginning of the women’s movement and a source of confidence for future generations.\u003c/p>\n\u003cp>\u003cstrong>What was the significance of having three generations from your family at the event?\u003c/strong>\u003c/p>\n\u003cp>Carol: Jenny first heard of the Rosie rally and posted it on Facebook. My other daughter Emily and I immediately said we wanted to go and all of us started mentioning it to friends to see how many we could talk into joining us to do our part to help set a record.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jennifer: I saw a lot of families at the event. I loved seeing husbands and dads supporting their wives and daughters from the sidelines. And I loved being there with my own family. My mom was born during the war. Being there with her, my sister, and my nine-year-old made me realize that World War II really wasn’t all that long ago. I wish my grandmother could have joined us too, she would have loved it.\u003c/p>\n\n",
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"excerpt": "Grandma, mom and daughter teams gathered in Richmond last month to celebrate World War II female shipyard workers.",
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"title": "Three Generations of Rosie the Riveters Help Break World Record | KQED",
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"headline": "Three Generations of Rosie the Riveters Help Break World Record",
"datePublished": "2015-09-02T08:00:31-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than a thousand women of all ages gathered at Richmond’s WWII Home Front National Historical Park a couple of weeks ago to to commemorate the women who worked in shipyards and factories during World War II — and to set a new world record for “The Largest Gathering of People Dressed as Rosie the Riveter.”\u003c/p>\n\u003cp>Several multi-generational families were among the hordes dressed in Rosie’s unmistakable uniform of red polka dot head scarf and rolled up denim work shirt. The members of one such family, 9-year-old Julia Dolan, her mom Jennifer Dolan, 43, and grandma Carol Burns, 71, talked to KQED Arts about the importance of embodying the bicep-flexing, feminist icon.\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/LGOfv3uXYBk'\n title='//www.youtube.com/embed/LGOfv3uXYBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What is your personal connection to Rosie the Riveter?\u003c/strong>\u003c/p>\n\u003cp>Carol: I was born in California at the end of 1943 and earlier that year my mother completed training in aircraft production. Because of her unplanned pregnancy with me, she was unable to go to work at the North American Aviation plant in Fresno. However, it was always a source of pride for her that she was able to complete the training.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jennifer: Even though my grandmother didn’t do factory work, like so many other people on the home front, she worked hard and kept her family and the country moving forward. Celebrating Rosie the Riveter feels like I am honoring her.\u003c/p>\n\u003cp>Julia: When I was in third grade I bought a book called “Heroes of World War II” and I loved reading about the Rosies. I don’t think I would have liked to do that kind of work. It would have been hard to live during a war. But I would have done it for the war effort just like the Rosies.\u003c/p>\n\u003cp>\u003cstrong>What was it like at the Rosie rally? What did you learn?\u003c/strong>\u003c/p>\n\u003cp>Carol: We were lucky enough to get to the “We Can Do It!” sign before the line got ridiculously long, and got some great photos. I was delighted to see the way women had dressed up their little girls, infants, and even dogs. There were Rosies of every age, shape, and size. I couldn’t keep from smiling. What an event! Of course it helps that we broke the record for attendance also.\u003c/p>\n\u003cp>Jennifer: Getting our picture taken with some original Rosies was the highlight. I thought it was hilarious that so many of them thought the red and white bandanas were funny because they had never heard of anyone who actually wore them. One welder told us that she wore a sweatshirt and men’s jeans to work, because at that time there were no jeans for women. I also thought it was very empowering to see women of all colors representing Rosie. The posters usually show a young, white Rosie, which isn’t fair. Rosies looked like all women.\u003c/p>\n\u003cp>Julia: I got to meet some of the original Rosies. I also loved reading the quotes on the Rosie Memorial and learning how many women volunteered right after Pearl Harbor was bombed.\u003c/p>\n\u003cp>\u003cstrong>Why is the Rosie the Riveter an important symbol?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie the Riveter represents the unsung hero, the person who works hard day after day but doesn’t always get proper recognition or sufficient financial reward. She’s also a symbol of tremendous optimism. For a while, not only was there equal pay for equal work, but there was a concerted effort to help working parents both serve their country and support their families. This all ended when war production ended. But I often think about how much stronger our country would be today if we made it easier for working parents to do everything that needs to be done.\u003c/p>\n\u003cfigure id=\"attachment_10928351\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10928351 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg\" alt=\"Jennifer, Julia, and Jennifer's sister Emily at the Rosie rally. Photo by Carol Burns.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg 1352w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer, Julia, and Jennifer’s sister Emily at the Rosie rally. (Photo by Carol Burns)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why is it important that the Rosie the Riveter tradition lives on?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie is one of the most recognizable symbols of the strength and determination of women. But it’s important that people learn the whole story. She was a hero. But she was also resented at times, sexualized by popular culture and in most cases forced back into domesticity when the men came home and wanted their jobs back. In most cases, the recognition and respect she got during wartime didn’t continue.\u003c/p>\n\u003cp>Carol: The amazing effort to produce ships couldn’t have been accomplished without the help of women workers. It was an opportunity for women to show what they could do if no one was holding them back. The example they set was the beginning of the women’s movement and a source of confidence for future generations.\u003c/p>\n\u003cp>\u003cstrong>What was the significance of having three generations from your family at the event?\u003c/strong>\u003c/p>\n\u003cp>Carol: Jenny first heard of the Rosie rally and posted it on Facebook. My other daughter Emily and I immediately said we wanted to go and all of us started mentioning it to friends to see how many we could talk into joining us to do our part to help set a record.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jennifer: I saw a lot of families at the event. I loved seeing husbands and dads supporting their wives and daughters from the sidelines. And I loved being there with my own family. My mom was born during the war. Being there with her, my sister, and my nine-year-old made me realize that World War II really wasn’t all that long ago. I wish my grandmother could have joined us too, she would have loved it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"marketplace": {
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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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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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