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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\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/OQIYEPe6DWY'\n title='//www.youtube.com/embed/OQIYEPe6DWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How SF's Dirtybird Grew from Outsider Party to Beloved House Music Label",
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"content": "\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\u003c/p>\n\u003cp>https://youtu.be/CzALJvtJWkE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\u003c/p>\n\u003cp>https://youtu.be/uc8lkLQ3sO4\u003c/p>\n\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\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/CzALJvtJWkE'\n title='//www.youtube.com/embed/CzALJvtJWkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\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/uc8lkLQ3sO4'\n title='//www.youtube.com/embed/uc8lkLQ3sO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a pairing that feels fundamentally bizarre, but also somehow inevitable. She’s an avant-garde artist who has dabbled with pop; he’s an experimental rock star with a penchant for surrealism. And together, Laurie Anderson and Mike Patton are going to be performing a 16th century text by a general from the Ming Dynasty. No, really.\u003c/p>\n\u003cp>The seeds for this three-night run at SFJAZZ were planted last May, when Patton briefly performed with Anderson during her set with Terry Riley and John Zorn at the Chapel in San Francisco. The pair will now tackle “Quanjing Jieyao Pian”—a chapter of a \u003ca href=\"https://books.google.com/books/about/An_English_Translation_of_General_QI_Jig.html?id=Lx6ytAEACAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">1560 military instruction manual\u003c/a> written by Chinese General Qi Jiguang, that focuses on unarmed combat exercises. Roughly translated, the title means “Chapter on the Fist Canon and the Essentials of Nimbleness.”\u003c/p>\n\u003cp>Patton, a Eureka native, is most famous for his work as the frontman of the rock band Faith No More, but he has a long history of boundary-pushing in outfits like Mr. Bungle, Fantômas and Hemophiliac. Anderson’s background is rooted in performance art and sound experimentation, and she is the current resident artistic director of SFJAZZ.\u003c/p>\n\u003cp>It’s impossible to predict in advance what these two innovators will conjure up together—previews promise only “an exploration of vocal styles.” One thing’s for sure though. It definitely won’t be boring. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a pairing that feels fundamentally bizarre, but also somehow inevitable. She’s an avant-garde artist who has dabbled with pop; he’s an experimental rock star with a penchant for surrealism. And together, Laurie Anderson and Mike Patton are going to be performing a 16th century text by a general from the Ming Dynasty. No, really.\u003c/p>\n\u003cp>The seeds for this three-night run at SFJAZZ were planted last May, when Patton briefly performed with Anderson during her set with Terry Riley and John Zorn at the Chapel in San Francisco. The pair will now tackle “Quanjing Jieyao Pian”—a chapter of a \u003ca href=\"https://books.google.com/books/about/An_English_Translation_of_General_QI_Jig.html?id=Lx6ytAEACAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">1560 military instruction manual\u003c/a> written by Chinese General Qi Jiguang, that focuses on unarmed combat exercises. Roughly translated, the title means “Chapter on the Fist Canon and the Essentials of Nimbleness.”\u003c/p>\n\u003cp>Patton, a Eureka native, is most famous for his work as the frontman of the rock band Faith No More, but he has a long history of boundary-pushing in outfits like Mr. Bungle, Fantômas and Hemophiliac. Anderson’s background is rooted in performance art and sound experimentation, and she is the current resident artistic director of SFJAZZ.\u003c/p>\n\u003cp>It’s impossible to predict in advance what these two innovators will conjure up together—previews promise only “an exploration of vocal styles.” One thing’s for sure though. It definitely won’t be boring. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. [aside postID=news_11764921]\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” [aside postid='arts_13816362']\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>[pullquote align='right' citation='Sharmi Basu']“The justice system isn’t going to provide the systemic reform we need.”[/pullquote]\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. [aside postid='arts_12484175']\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Sci-Fi Album for Climate Anxiety from Rising Musician Salami Rose Joe Louis",
"headTitle": "A Sci-Fi Album for Climate Anxiety from Rising Musician Salami Rose Joe Louis | KQED",
"content": "\u003cp>Across the Carquinez Bridge from Vallejo, the post-industrial city that produced rap stars Mac Dre and E-40, sits the small waterfront hamlet of Crockett. Not an official town but a census designated place, it has a population of just over 3,000 and is barely larger than one square mile. During its dry, 90-degree summer days, a 100-year-old sugar refinery fills the air with the smell of molasses.\u003c/p>\n\u003cp>In was in a Crockett basement, far removed from the Bay Area’s urban life, that \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Salami Rose Joe Louis\u003c/a> recorded her enchanting new album, \u003cem>\u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener\">Zdenka 2080\u003c/a>. \u003c/em>Due out Aug. 30 on the celebrated L.A. label Brainfeeder, it’s a collection of jazzy, experimental pop tracks that unfold like a sci-fi novel with a prescient message about the environment.\u003c/p>\n\u003cp>In the story of \u003cem>Zdenka 2080\u003c/em>, Earth’s elite flee the decaying planet to another, more livable one. The world’s governments and corporations join forces to fly a megalopolis there, but the plan backfires, destroying the sun and slowly killing Earth’s remaining inhabitants in the process. Our protagonist, Salami, uncovers a secret that changes the entire meaning of human beings’ relationship to our environment.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003cp>The gripping, semi-allegorical tale about impending natural disaster unfolds over \u003cem>Zdenka 2080\u003c/em>‘s sprightly 22 tracks, where Salami Rose, a.k.a. Lindsey Olsen, winds the listener through the album’s many subplots with oddball synth melodies, nimble guitar work, reverb-heavy vocals, pitch-shifted spoken word sections (in character, of course) and jazz drums. Though \u003cem>Zdenka 2080 \u003c/em>has an upbeat, pop sensibility, Olsen avoids catchy refrains, instead writing songs demanding close attention lest the listener miss a crucial twist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The theme I was trying to get across is [that] energy affects our brains and affects our actions, and so maybe a way we could help save our planet is to have more positive energy,” she says on a recent afternoon, sitting on her keyboard bench in her small downtown Oakland rehearsal space, located in the back of a painter’s studio.\u003c/p>\n\u003cp>Approaching her songwriting like a fiction writer (she cites sci-fi greats Octavia Butler and Gene Wolfe as inspirations), Olsen storyboarded the plot before putting it to song, and is currently working on a comic book to go with the album. [aside postid='arts_13837846']\u003c/p>\n\u003cp>This inventive approach shows why Olsen has emerged as one of the most exciting new voices in the Bay Area’s music scene in the past year. She came up as part of the experimental beatmaker collective Smart Bomb, which hosts a popular monthly musical showcase at the Legionnaire Saloon in Oakland. After gaining some Bandcamp buzz from her first two solo projects, released on Oakland’s \u003ca href=\"https://daily.bandcamp.com/2019/03/18/hot-record-societe-oakland-profile/\" target=\"_blank\" rel=\"noopener\">Hot Records Societe\u003c/a>, her work arrived on the national stage in early 2019 when Toro y Moi’s Chaz Bear invited her to open for him on his last tour in support of his \u003cem>Outer Peace\u003c/em> album. [aside postid='arts_13848868']\u003c/p>\n\u003cp>Olsen, a low-key introvert who spends her spare time in her Crockett basement reading sci-fi novels and physics books, had played keyboards in other people’s bands. But this new attention on an admittedly strange project she thought would never see the light of day thrilled and terrified her at the same time. “I guess I had been scared shitless before,” she says. “But this was my first time performing my own music, which was so exciting in a whole new level of shitting my pants.”\u003c/p>\n\u003cp>But the risk of baring her soul in front of a national audience paid off, and things only went up from there. The producer PBDY from Brainfeeder was one of Olsen’s first followers on SoundCloud, and he introduced her music to label boss Flying Lotus, an experimental producer and one of Olsen’s idols. “And somehow FlyLo decided he wanted me on his label,” she says, her pitch rising with excitement. “I’m still freaking out about it, to be honest.”\u003c/p>\n\u003cfigure id=\"attachment_13864204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg\" alt=\"Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days ahead of her national tour with Flying Lotus, which kicked off this week, Olsen says she’s still starstruck, remembering a show in Los Angeles a year and a half ago where she met Flying Lotus for the first time. Just before going on stage, Olsen found out that he and the bassist Thundercat, two of Brainfeeder’s most celebrated acts, were in the audience. Overcome with nervousness, she didn’t know what to do, so she pulled out a dinosaur finger puppet on stage. “Sometimes when I’m scared, I go into bizarre mode,” she says, laughing. “That was how I coped with meeting my heroes.”\u003c/p>\n\u003cp>Now that she’s signed to one of the country’s most popular avant-garde labels, Olsen is still in disbelief; she humbly calls it blind luck. Four years ago, she thought she’d quit her music career for good when took a job as a researcher in a chemical oceanography lab. But music kept calling: “I started coming late to the lab because I was writing music, and I kept missing the first hour of my job,” she says. “Slowly, I became a very bad lab employee.”\u003c/p>\n\u003cp>Now, her solo work which she once considered a hobby has a giant audience, and has propelled her on a new path.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always thought it was too weird,” she says, exhaling with relief. “I never thought I would show it to anybody besides friends.”\u003c/p>\n\n",
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"excerpt": "On her Brainfeeder debut 'Zdenka 2080,' the Crockett musician spins a story of the Earth's elite fleeing a decaying planet.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Across the Carquinez Bridge from Vallejo, the post-industrial city that produced rap stars Mac Dre and E-40, sits the small waterfront hamlet of Crockett. Not an official town but a census designated place, it has a population of just over 3,000 and is barely larger than one square mile. During its dry, 90-degree summer days, a 100-year-old sugar refinery fills the air with the smell of molasses.\u003c/p>\n\u003cp>In was in a Crockett basement, far removed from the Bay Area’s urban life, that \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Salami Rose Joe Louis\u003c/a> recorded her enchanting new album, \u003cem>\u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener\">Zdenka 2080\u003c/a>. \u003c/em>Due out Aug. 30 on the celebrated L.A. label Brainfeeder, it’s a collection of jazzy, experimental pop tracks that unfold like a sci-fi novel with a prescient message about the environment.\u003c/p>\n\u003cp>In the story of \u003cem>Zdenka 2080\u003c/em>, Earth’s elite flee the decaying planet to another, more livable one. The world’s governments and corporations join forces to fly a megalopolis there, but the plan backfires, destroying the sun and slowly killing Earth’s remaining inhabitants in the process. Our protagonist, Salami, uncovers a secret that changes the entire meaning of human beings’ relationship to our environment.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The gripping, semi-allegorical tale about impending natural disaster unfolds over \u003cem>Zdenka 2080\u003c/em>‘s sprightly 22 tracks, where Salami Rose, a.k.a. Lindsey Olsen, winds the listener through the album’s many subplots with oddball synth melodies, nimble guitar work, reverb-heavy vocals, pitch-shifted spoken word sections (in character, of course) and jazz drums. Though \u003cem>Zdenka 2080 \u003c/em>has an upbeat, pop sensibility, Olsen avoids catchy refrains, instead writing songs demanding close attention lest the listener miss a crucial twist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The theme I was trying to get across is [that] energy affects our brains and affects our actions, and so maybe a way we could help save our planet is to have more positive energy,” she says on a recent afternoon, sitting on her keyboard bench in her small downtown Oakland rehearsal space, located in the back of a painter’s studio.\u003c/p>\n\u003cp>Approaching her songwriting like a fiction writer (she cites sci-fi greats Octavia Butler and Gene Wolfe as inspirations), Olsen storyboarded the plot before putting it to song, and is currently working on a comic book to go with the album. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This inventive approach shows why Olsen has emerged as one of the most exciting new voices in the Bay Area’s music scene in the past year. She came up as part of the experimental beatmaker collective Smart Bomb, which hosts a popular monthly musical showcase at the Legionnaire Saloon in Oakland. After gaining some Bandcamp buzz from her first two solo projects, released on Oakland’s \u003ca href=\"https://daily.bandcamp.com/2019/03/18/hot-record-societe-oakland-profile/\" target=\"_blank\" rel=\"noopener\">Hot Records Societe\u003c/a>, her work arrived on the national stage in early 2019 when Toro y Moi’s Chaz Bear invited her to open for him on his last tour in support of his \u003cem>Outer Peace\u003c/em> album. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Olsen, a low-key introvert who spends her spare time in her Crockett basement reading sci-fi novels and physics books, had played keyboards in other people’s bands. But this new attention on an admittedly strange project she thought would never see the light of day thrilled and terrified her at the same time. “I guess I had been scared shitless before,” she says. “But this was my first time performing my own music, which was so exciting in a whole new level of shitting my pants.”\u003c/p>\n\u003cp>But the risk of baring her soul in front of a national audience paid off, and things only went up from there. The producer PBDY from Brainfeeder was one of Olsen’s first followers on SoundCloud, and he introduced her music to label boss Flying Lotus, an experimental producer and one of Olsen’s idols. “And somehow FlyLo decided he wanted me on his label,” she says, her pitch rising with excitement. “I’m still freaking out about it, to be honest.”\u003c/p>\n\u003cfigure id=\"attachment_13864204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg\" alt=\"Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_3380-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salami Rose Joe Louis (Lindsay Olsen) with paintings by Muzae Sesay. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days ahead of her national tour with Flying Lotus, which kicked off this week, Olsen says she’s still starstruck, remembering a show in Los Angeles a year and a half ago where she met Flying Lotus for the first time. Just before going on stage, Olsen found out that he and the bassist Thundercat, two of Brainfeeder’s most celebrated acts, were in the audience. Overcome with nervousness, she didn’t know what to do, so she pulled out a dinosaur finger puppet on stage. “Sometimes when I’m scared, I go into bizarre mode,” she says, laughing. “That was how I coped with meeting my heroes.”\u003c/p>\n\u003cp>Now that she’s signed to one of the country’s most popular avant-garde labels, Olsen is still in disbelief; she humbly calls it blind luck. Four years ago, she thought she’d quit her music career for good when took a job as a researcher in a chemical oceanography lab. But music kept calling: “I started coming late to the lab because I was writing music, and I kept missing the first hour of my job,” she says. “Slowly, I became a very bad lab employee.”\u003c/p>\n\u003cp>Now, her solo work which she once considered a hobby has a giant audience, and has propelled her on a new path.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always thought it was too weird,” she says, exhaling with relief. “I never thought I would show it to anybody besides friends.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
"description": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"headline": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
"datePublished": "2019-08-10T09:14:46-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Electronic Music Festival Mutek Returns to SF; Announces Initial Lineup",
"headTitle": "Electronic Music Festival Mutek Returns to SF; Announces Initial Lineup | KQED",
"content": "\u003cp>House, techno, club and sound art scenes thrive in disparate hubs across the globe, but there’s one place where it’s possible to experience a huge variety of forward-thinking electronic music: Mutek. The eclectic festival, which originated in Montreal and takes place in cultural capitals like Mexico City and Tokyo, returns for its second \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2019\" target=\"_blank\" rel=\"noopener\">San Francisco edition\u003c/a> on May 2–5. [contextly_sidebar id=”KYfImSlHa9AB8gngf6lP5C8NjiQeVTJG”]\u003c/p>\n\u003cp>The initial lineup, announced today, features some notable locals, including \u003ca href=\"https://clubchai.bandcamp.com/album/disruption\" target=\"_blank\" rel=\"noopener\">Lara Sarkissian\u003c/a> of boundary-pushing Bay Area party and label \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, as well as \u003ca href=\"https://bandcamp.com/nihar\" target=\"_blank\" rel=\"noopener\">Nihar\u003c/a>, producer and co-founder of San Francisco techno label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a> (Nihar performs at Mutek with visual artist \u003ca href=\"http://bysubset.com/\" target=\"_blank\" rel=\"noopener\">Subset\u003c/a>). [contextly_sidebar id=”LPCV5wa1LFVu4beuNTaXqPrB5RPF3hNk”]\u003c/p>\n\u003cp>Experimental beatmaker and vocalist \u003ca href=\"https://www.kqed.org/arts/13836950/archivist-electronic-musician-cruel-diagonals-embraces-curiosity-on-disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>, who recently left Oakland for Los Angeles, is also on the bill. Kaitlyn Aurelia Smith, a North Bay-based synth wizard, performs as well. [contextly_sidebar id=”Nt6kUQ1HHqT1a5JFnO3gB4pyawa6dRSk”]\u003c/p>\n\u003cp>The lineup also features influential national and international artists such as Hyperdub label founder \u003ca href=\"https://www.youtube.com/watch?v=1-rEAe4C8gk\" target=\"_blank\" rel=\"noopener\">Kode9\u003c/a> (in collaboration with Japanese animator \u003ca href=\"https://www.youtube.com/watch?v=Y5js4mBMU7s\" target=\"_blank\" rel=\"noopener\">Koji Morimoto\u003c/a>), Australian ambient composer \u003ca href=\"https://www.youtube.com/watch?v=uoMTSw3evr8\" target=\"_blank\" rel=\"noopener\">Lawrence English\u003c/a> and Minimal Wave Records founder \u003ca href=\"https://www.youtube.com/watch?v=4p9kOO-xS4w\" target=\"_blank\" rel=\"noopener\">Veronica Vasicka\u003c/a>.\u003c/p>\n\u003cp>Mutek features late-night parties, evening shows in theaters and galleries and day parties with interactive art installations. The full schedule of programming has not been announced yet, but you can check out the initial lineup below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lineup:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Abandoned Footwear & arc (US) / Amnesia Scanner (FI/DE) / Arpanet (US) / BLEIE & Chelley Sherman (US) / Byetone (DE) / Cool Maritime & Emily Sprague (US) / Cruel Diagonals (US) / CYRNAI (US) / Diagraf (CA/QC) / Dopplereffekt (US+DE) / Ectomorph (US) / Edna King (CA) / fuse* (IT) / Freeka Tet (FR) / GAIKA (UK) / The Hacker presents Amato Live (FR) / Halal & Relaxer (US) / Joyfultalk (CA) / Kaitlyn Aurelia Smith (US) / Kelly Moran (US) / Kode9 & Koji Morimoto (UK+JP) / Kyle Evans (US) / Lara Sarkissian (US) / Lawrence English (AU) / Layne (US) / Marpi (PL) / Michael Claus (US) / Mozhgan & Josh Cheon (US) / Nihar & Subset (US) / Rainforest Spiritual Enslavement (US+FR) / Revlux (CA) / Robot Koch & Mikael Le Goff (DE) / Sepehr (US) / Smerz (NO/DK) / Steve Hauschildt + Martin Tzonev (US) / susy.technology (CA/QC) / Tayhana (MX) / Veronica Vasicka (US)\u003c/p>\n\n",
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"excerpt": "The festival offers an opportunity to get to know a huge variety of techno, ambient and experimental electronic music.",
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"title": "Electronic Music Festival Mutek Returns to SF; Announces Initial Lineup | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>House, techno, club and sound art scenes thrive in disparate hubs across the globe, but there’s one place where it’s possible to experience a huge variety of forward-thinking electronic music: Mutek. The eclectic festival, which originated in Montreal and takes place in cultural capitals like Mexico City and Tokyo, returns for its second \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2019\" target=\"_blank\" rel=\"noopener\">San Francisco edition\u003c/a> on May 2–5. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The initial lineup, announced today, features some notable locals, including \u003ca href=\"https://clubchai.bandcamp.com/album/disruption\" target=\"_blank\" rel=\"noopener\">Lara Sarkissian\u003c/a> of boundary-pushing Bay Area party and label \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, as well as \u003ca href=\"https://bandcamp.com/nihar\" target=\"_blank\" rel=\"noopener\">Nihar\u003c/a>, producer and co-founder of San Francisco techno label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a> (Nihar performs at Mutek with visual artist \u003ca href=\"http://bysubset.com/\" target=\"_blank\" rel=\"noopener\">Subset\u003c/a>). \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Experimental beatmaker and vocalist \u003ca href=\"https://www.kqed.org/arts/13836950/archivist-electronic-musician-cruel-diagonals-embraces-curiosity-on-disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>, who recently left Oakland for Los Angeles, is also on the bill. Kaitlyn Aurelia Smith, a North Bay-based synth wizard, performs as well. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The lineup also features influential national and international artists such as Hyperdub label founder \u003ca href=\"https://www.youtube.com/watch?v=1-rEAe4C8gk\" target=\"_blank\" rel=\"noopener\">Kode9\u003c/a> (in collaboration with Japanese animator \u003ca href=\"https://www.youtube.com/watch?v=Y5js4mBMU7s\" target=\"_blank\" rel=\"noopener\">Koji Morimoto\u003c/a>), Australian ambient composer \u003ca href=\"https://www.youtube.com/watch?v=uoMTSw3evr8\" target=\"_blank\" rel=\"noopener\">Lawrence English\u003c/a> and Minimal Wave Records founder \u003ca href=\"https://www.youtube.com/watch?v=4p9kOO-xS4w\" target=\"_blank\" rel=\"noopener\">Veronica Vasicka\u003c/a>.\u003c/p>\n\u003cp>Mutek features late-night parties, evening shows in theaters and galleries and day parties with interactive art installations. The full schedule of programming has not been announced yet, but you can check out the initial lineup below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lineup:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Abandoned Footwear & arc (US) / Amnesia Scanner (FI/DE) / Arpanet (US) / BLEIE & Chelley Sherman (US) / Byetone (DE) / Cool Maritime & Emily Sprague (US) / Cruel Diagonals (US) / CYRNAI (US) / Diagraf (CA/QC) / Dopplereffekt (US+DE) / Ectomorph (US) / Edna King (CA) / fuse* (IT) / Freeka Tet (FR) / GAIKA (UK) / The Hacker presents Amato Live (FR) / Halal & Relaxer (US) / Joyfultalk (CA) / Kaitlyn Aurelia Smith (US) / Kelly Moran (US) / Kode9 & Koji Morimoto (UK+JP) / Kyle Evans (US) / Lara Sarkissian (US) / Lawrence English (AU) / Layne (US) / Marpi (PL) / Michael Claus (US) / Mozhgan & Josh Cheon (US) / Nihar & Subset (US) / Rainforest Spiritual Enslavement (US+FR) / Revlux (CA) / Robot Koch & Mikael Le Goff (DE) / Sepehr (US) / Smerz (NO/DK) / Steve Hauschildt + Martin Tzonev (US) / susy.technology (CA/QC) / Tayhana (MX) / Veronica Vasicka (US)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Estonian singer Maria Minerva and the late San Francisco producer \u003ca href=\"https://cherushii.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Cherushii\u003c/a> became fast friends once their label, 100% Silk, paired them up to go on a nationwide tour together in 2013. Whenever Minerva would visit Cherushii in San Francisco in the years that followed, she was struck by her unpretentious optimism and sense of adventure. [contextly_sidebar id=”uuiHQG3X8gvxQuA6idFAWRJe5hPd9mBC”]\u003c/p>\n\u003cp>Minerva recalls a time when Cherushii invited her to perform an early-morning set at the Folsom Street Fair, the famed fetish celebration.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To me that was the most insane experience ever,” Minerva laughs, remembering how Cherushii brought the same enthusiasm to the sparse crowd of leather-clad early risers as she would have during peak hours at a rave. “For her, that was her comfort zone.”\u003c/span>\u003c/p>\n\u003cp>Sadly, Cherushii, whose real name is Chelsea Faith Dolan, was killed in the 2016 Ghost Ship fire just as she was hitting her creative stride.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Right before her passing, things were going so great for her. She was doing bigger and better gigs every week, producing a lot—she never stopped,”\u003c/span> says Minerva in a phone interview from Los Angeles. She and Cherushii had been in the process of completing a collaborative album in the months leading up to her death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After two years of working to finish the project amid a difficult grieving process, Minerva releases her album with Cherushii via 100% Silk on Feb. 15. Titled \u003cem>S/T\u003c/em>, it offers a glimpse into the new, exalted house-pop direction Cherushii was reaching for before her passing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Soulful, ebullient and effervescent are some ways to describe Cherushii’s approach to house music, which harked back to the funky, jubilant expressions of influential ’90s acts like \u003ca href=\"https://youtu.be/MdoKsW6-r-M\" target=\"_blank\" rel=\"noopener\">Inner City\u003c/a> and \u003ca href=\"https://youtu.be/644UU55eyzk\" target=\"_blank\" rel=\"noopener\">Frankie Knuckles\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>S/T\u003c/em>, Cherushii’s deep, pulsing grooves and heavy-reverb synths recall the work of pioneering pop producer \u003ca href=\"https://youtu.be/RK4Gr0Z1gsA\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>, who’s responsible for some of Donna Summer’s biggest hits. With Minerva’s melancholy lyrics about solitude and heartbreak against Cherushii’s ecstatic production, \u003cem>S/T\u003c/em> would sit comfortably on a playlist with tracks like “\u003ca href=\"https://youtu.be/8o5BHH9U2Mg\" target=\"_blank\" rel=\"noopener\">Missing U\u003c/a>” by Robyn or “\u003ca href=\"https://www.youtube.com/watch?v=rEamE0MYPkg\" target=\"_blank\" rel=\"noopener\">Everything is Embarrassing\u003c/a>” by Sky Ferreira—sparkly dance-pop tunes that belie pensive, emotional lyrics. [contextly_sidebar id=”F65KQ8pRal1u2LNfByFchOZNPnqbGWvo”]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“More so than other musicians I worked with, [Cherushii] was inspired by the notion of making songs for people to thrill to, and bond to and celebrate to,” says Britt Brown, the co-owner of 100% Silk. “She wasn’t one of those people who’d write a song because she’s sad and it’s a sad song. … It was this revved up, joyful party song.”\u003c/span>\u003c/p>\n\u003cp>“Out by Myself,” about the feeling of transcendence on the dance floor, captures how the pure love of a good beat propelled Cherushii’s creative process. (Her romantic and creative partner David Last assisted with mixing on the track.) On \u003cem>S/T\u003c/em> and in Cherushii’s solo work, her songs are often lengthy, with play times of up to eight minutes. Her maximalist beats beckon the listener—who is also often a dancer—to find the groove and hang out in it for a while, allowing melodic twists and turns to take them to new heights of spiritual ecstasy.\u003c/p>\n\u003cfigure id=\"attachment_13850859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/folsom-800x799.png\" alt=\"Cherushii and Maria Minerva performing at Folsom Street Fair. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1020x1018.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1200x1198.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cherushii and Maria Minerva performing at Folsom Street Fair. \u003ccite>(Colleen Dolan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown and Minerva say that Cherushii sometimes felt under-recognized as a producer, and Minerva laments that Cherushii passed away before gender equality became a major topic of conversation in the electronic music world. Now, many international festivals have committed to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-43196414\" target=\"_blank\" rel=\"noopener\">booking 50 percent women\u003c/a> for their lineups by 2022. Female producers \u003ca href=\"https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser\" target=\"_blank\" rel=\"noopener\">Peggy Gou\u003c/a> and \u003ca href=\"https://www.thefader.com/2018/06/05/yaeji-cover-story\" target=\"_blank\" rel=\"noopener\">Yaeji\u003c/a> have emerged as two of club music’s biggest stars, and their work shares Cherushii’s joyous, life-affirming sensibility.\u003c/p>\n\u003cp>“She would complain to me about the party scene in San Francisco—and that’s like throwing shade now—but a lot of the male producers and DJs would look through her and not give her the time of day,” Minerva says. “Now the music world is waking up to the fact that it’s happening, and festival lineups get called out for the lack of women.”\u003c/p>\n\u003cp>“That never happened five years ago,” she continues, “And it’s a shame because I feel like she would have benefited from that new awareness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Estonian singer Maria Minerva and the late San Francisco producer \u003ca href=\"https://cherushii.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Cherushii\u003c/a> became fast friends once their label, 100% Silk, paired them up to go on a nationwide tour together in 2013. Whenever Minerva would visit Cherushii in San Francisco in the years that followed, she was struck by her unpretentious optimism and sense of adventure. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Minerva recalls a time when Cherushii invited her to perform an early-morning set at the Folsom Street Fair, the famed fetish celebration.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To me that was the most insane experience ever,” Minerva laughs, remembering how Cherushii brought the same enthusiasm to the sparse crowd of leather-clad early risers as she would have during peak hours at a rave. “For her, that was her comfort zone.”\u003c/span>\u003c/p>\n\u003cp>Sadly, Cherushii, whose real name is Chelsea Faith Dolan, was killed in the 2016 Ghost Ship fire just as she was hitting her creative stride.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Right before her passing, things were going so great for her. She was doing bigger and better gigs every week, producing a lot—she never stopped,”\u003c/span> says Minerva in a phone interview from Los Angeles. She and Cherushii had been in the process of completing a collaborative album in the months leading up to her death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After two years of working to finish the project amid a difficult grieving process, Minerva releases her album with Cherushii via 100% Silk on Feb. 15. Titled \u003cem>S/T\u003c/em>, it offers a glimpse into the new, exalted house-pop direction Cherushii was reaching for before her passing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Soulful, ebullient and effervescent are some ways to describe Cherushii’s approach to house music, which harked back to the funky, jubilant expressions of influential ’90s acts like \u003ca href=\"https://youtu.be/MdoKsW6-r-M\" target=\"_blank\" rel=\"noopener\">Inner City\u003c/a> and \u003ca href=\"https://youtu.be/644UU55eyzk\" target=\"_blank\" rel=\"noopener\">Frankie Knuckles\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>S/T\u003c/em>, Cherushii’s deep, pulsing grooves and heavy-reverb synths recall the work of pioneering pop producer \u003ca href=\"https://youtu.be/RK4Gr0Z1gsA\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>, who’s responsible for some of Donna Summer’s biggest hits. With Minerva’s melancholy lyrics about solitude and heartbreak against Cherushii’s ecstatic production, \u003cem>S/T\u003c/em> would sit comfortably on a playlist with tracks like “\u003ca href=\"https://youtu.be/8o5BHH9U2Mg\" target=\"_blank\" rel=\"noopener\">Missing U\u003c/a>” by Robyn or “\u003ca href=\"https://www.youtube.com/watch?v=rEamE0MYPkg\" target=\"_blank\" rel=\"noopener\">Everything is Embarrassing\u003c/a>” by Sky Ferreira—sparkly dance-pop tunes that belie pensive, emotional lyrics. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“More so than other musicians I worked with, [Cherushii] was inspired by the notion of making songs for people to thrill to, and bond to and celebrate to,” says Britt Brown, the co-owner of 100% Silk. “She wasn’t one of those people who’d write a song because she’s sad and it’s a sad song. … It was this revved up, joyful party song.”\u003c/span>\u003c/p>\n\u003cp>“Out by Myself,” about the feeling of transcendence on the dance floor, captures how the pure love of a good beat propelled Cherushii’s creative process. (Her romantic and creative partner David Last assisted with mixing on the track.) On \u003cem>S/T\u003c/em> and in Cherushii’s solo work, her songs are often lengthy, with play times of up to eight minutes. Her maximalist beats beckon the listener—who is also often a dancer—to find the groove and hang out in it for a while, allowing melodic twists and turns to take them to new heights of spiritual ecstasy.\u003c/p>\n\u003cfigure id=\"attachment_13850859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/folsom-800x799.png\" alt=\"Cherushii and Maria Minerva performing at Folsom Street Fair. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1020x1018.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1200x1198.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cherushii and Maria Minerva performing at Folsom Street Fair. \u003ccite>(Colleen Dolan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown and Minerva say that Cherushii sometimes felt under-recognized as a producer, and Minerva laments that Cherushii passed away before gender equality became a major topic of conversation in the electronic music world. Now, many international festivals have committed to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-43196414\" target=\"_blank\" rel=\"noopener\">booking 50 percent women\u003c/a> for their lineups by 2022. Female producers \u003ca href=\"https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser\" target=\"_blank\" rel=\"noopener\">Peggy Gou\u003c/a> and \u003ca href=\"https://www.thefader.com/2018/06/05/yaeji-cover-story\" target=\"_blank\" rel=\"noopener\">Yaeji\u003c/a> have emerged as two of club music’s biggest stars, and their work shares Cherushii’s joyous, life-affirming sensibility.\u003c/p>\n\u003cp>“She would complain to me about the party scene in San Francisco—and that’s like throwing shade now—but a lot of the male producers and DJs would look through her and not give her the time of day,” Minerva says. “Now the music world is waking up to the fact that it’s happening, and festival lineups get called out for the lack of women.”\u003c/p>\n\u003cp>“That never happened five years ago,” she continues, “And it’s a shame because I feel like she would have benefited from that new awareness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13849201\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg\" alt=\"'Sacred Spells' album art.\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-1020x1019.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">‘Sacred Spells’ album art. \u003ccite>(Psychic Eye Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a musician and founder of the new label \u003ca href=\"https://psychiceye.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Psychic Eye Records\u003c/a>, Akiko Sampson has found power in supporting social justice causes close to their heart. In 2018, the artist (who is gender non-binary and uses “they/them” pronouns) played benefit shows for Red Light Legal, a legal advocacy organization for sex workers, and the Florence Immigrant and Refugee Rights Project.\u003c/p>\n\u003cp>For today’s \u003ca href=\"https://transprisoners.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Trans Prisoner Day of Action and Solidarity\u003c/a>, Sampson decided to use Psychic Eye Records’ debut release to raise money for \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for currently and formerly incarcerated trans and gender non-conforming people.\u003c/p>\n\u003cp>Released Jan. 22, \u003cem>Sacred Spells \u003c/em>is a 20-song post-punk, darkwave and experimental compilation with a wide variety of bands—local and international—that include trans, non-binary and queer musicians and their allies. With 100% of the album’s proceeds going to TGIJP, Sampson hopes to establish Psychic Eye Records’ priorities from the start: to serve as an example of the change they wish to see in the world, and to champion some of the freshest bands on the dark side of the musical spectrum—from the noisy, industrial grind of Oakland’s Malocculsion to the \u003cem>new\u003c/em>-new-wave inflections of Vancouver’s Koban.\u003c/p>\n\u003cfigure id=\"attachment_13849203\" class=\"wp-caption alignleft\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg\" alt=\"Experimental band V.E.X. is featured on Psychic Eye Records' new benefit compilation, 'Sacred Spells.'\" width=\"623\" height=\"763\" class=\"size-full wp-image-13849203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green-160x196.jpg 160w\" sizes=\"(max-width: 623px) 100vw, 623px\" />\u003cfigcaption class=\"wp-caption-text\">Experimental band V.E.X. is featured on Psychic Eye Records’ new benefit compilation, ‘Sacred Spells.’ \u003ccite>(Julie Pavlowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent interview, Sampson—who plays bass in post-punk trio Ötzi and works as a freelance video editor and \u003ca href=\"https://www.youtube.com/watch?v=4yzoEczqcOA\" target=\"_blank\" rel=\"noopener\">director\u003c/a> by day—clarified that they’d like Oakland’s reinvigorated goth and dark music scene to encompass more inclusive values.\u003c/p>\n\u003cp>“To me it’s an important time to ask who the scene is going to include,” Sampson says. “What are the priorities of us as a community? … Who we are and what it is we’re here for?”\u003c/p>\n\u003cp>The Trans Prisoner Day of Action and Solidarity is a good place to start. First conceptualized by anarchist-activist and trans prisoner \u003ca href=\"https://supportmariusmason.org/\" target=\"_blank\" rel=\"noopener\">Marius Mason\u003c/a>, it raises awareness of the abuses trans people face in jails, prisons and immigration detention centers, including violence and sexual assault from guards and fellow inmates, solitary confinement and denial of medical treatment.\u003c/p>\n\u003cp>Trans inmates’ struggles are rarely acknowledged in the mainstream media, let alone by the criminal justice system. In 2018, the U.S. Federal Bureau of Prisons \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/12/610692321/the-guidelines-for-protection-of-transgender-prisoners-just-got-rewritten\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> Obama-era protections for trans prisoners, placing them at a higher risk of abuse while in custody.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4127978411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>TGIJP has been serving this population on the front lines for fifteen years, providing vital support networks, connecting current and former inmates to resources and organizing grassroots actions.\u003c/p>\n\u003cp>“To me they’re a really important and influential organization,” Sampson says. “There’s a lot of fundraising that I see for the \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://www.hrc.org/\" target=\"_blank\" rel=\"noopener\">Human Rights Campaign\u003c/a>, and that sort of thing, but there’s still a group of people not being represented there. I thought that since this is a release coming from the subculture, we don’t have to give our money to organizations already being supported by the mainstream. Incarcerated trans women, to me, sounds like a really isolated, dangerous situation to be in, and I wanted to support them as people who are the most vulnerable.” \u003c/p>\n\u003cfigure id=\"attachment_13849205\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg\" alt=\"The Bedroom Witch's experimental pop draws from social justice themes and the occult.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Bedroom Witch’s experimental pop draws from social justice themes and the occult. \u003ccite>(Kristin Cofer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the best compilations, listening to \u003cem>Sacred Spells\u003c/em> is an exercise in discovery, and there’s something for lovers of alternative and experimental music of all stripes. Some standout tracks include the aforementioned Malocculsion with the song “Wormfood”;”Tomorrow Never Comes,” an intricately-layered requiem by V.E.X.; the synth-driven moan of “Blood Debts” by Zanna Nera; “Ana Venus,” an urgent electronic foray by Grenoble’s Lovataraxx; and the hauntingly operatic “Scarecrow Jim Crow I’m a Demon Coming at You” by performance artist and musician M. Lamar, who happens to be the sibling of trans actress and activist Laverne Cox of \u003cem>Orange is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Sampson mostly focused on musical output when selecting artists for the project, they wanted to make sure that trans musicians occupied a prominent place on the slate. V.E.X., Aesthetic Barrier and The Bedroom Witch all include trans and non-binary musicians, and Sampson’s own solo side project—Yama Uba—is also featured with “Angel,” rounding out the selection with soaring vocals and a ruthless, insistent drum track.\u003c/p>\n\u003cp>Sepehr Mashiahof—who performs as The Bedroom Witch—embodies the multiple themes within \u003cem>Sacred Spells\u003c/em>: she’s an Iranian-American trans woman and self-identified witch, and her work courses with social justice and occult themes. Her track from \u003cem>Sacred Spells\u003c/em>, “This House is No Longer,” is a chilling reckoning, layered with melodic bells, squiggles of synths and poetic lyrics. In an email, she praised Sampson’s efforts to use creativity to help trans people facing violence and discrimination.\u003c/p>\n\u003cp>“For those who are watching this continued targeting of trans and non-binary people (especially against Black trans women) unfold and are looking for ways to help seek justice for the community,” she writes, “Supplementing the efforts of TGI Justice Project and other similar organizations directly is an accessible place to start.”\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"excerpt": "Proceeds from 'Sacred Spells' go to the Transgender, Gender-Variant and Intersex Justice Project, a nonprofit advocating for trans people in prisons.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849201\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg\" alt=\"'Sacred Spells' album art.\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-1020x1019.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">‘Sacred Spells’ album art. \u003ccite>(Psychic Eye Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a musician and founder of the new label \u003ca href=\"https://psychiceye.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Psychic Eye Records\u003c/a>, Akiko Sampson has found power in supporting social justice causes close to their heart. In 2018, the artist (who is gender non-binary and uses “they/them” pronouns) played benefit shows for Red Light Legal, a legal advocacy organization for sex workers, and the Florence Immigrant and Refugee Rights Project.\u003c/p>\n\u003cp>For today’s \u003ca href=\"https://transprisoners.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Trans Prisoner Day of Action and Solidarity\u003c/a>, Sampson decided to use Psychic Eye Records’ debut release to raise money for \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for currently and formerly incarcerated trans and gender non-conforming people.\u003c/p>\n\u003cp>Released Jan. 22, \u003cem>Sacred Spells \u003c/em>is a 20-song post-punk, darkwave and experimental compilation with a wide variety of bands—local and international—that include trans, non-binary and queer musicians and their allies. With 100% of the album’s proceeds going to TGIJP, Sampson hopes to establish Psychic Eye Records’ priorities from the start: to serve as an example of the change they wish to see in the world, and to champion some of the freshest bands on the dark side of the musical spectrum—from the noisy, industrial grind of Oakland’s Malocculsion to the \u003cem>new\u003c/em>-new-wave inflections of Vancouver’s Koban.\u003c/p>\n\u003cfigure id=\"attachment_13849203\" class=\"wp-caption alignleft\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg\" alt=\"Experimental band V.E.X. is featured on Psychic Eye Records' new benefit compilation, 'Sacred Spells.'\" width=\"623\" height=\"763\" class=\"size-full wp-image-13849203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green-160x196.jpg 160w\" sizes=\"(max-width: 623px) 100vw, 623px\" />\u003cfigcaption class=\"wp-caption-text\">Experimental band V.E.X. is featured on Psychic Eye Records’ new benefit compilation, ‘Sacred Spells.’ \u003ccite>(Julie Pavlowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent interview, Sampson—who plays bass in post-punk trio Ötzi and works as a freelance video editor and \u003ca href=\"https://www.youtube.com/watch?v=4yzoEczqcOA\" target=\"_blank\" rel=\"noopener\">director\u003c/a> by day—clarified that they’d like Oakland’s reinvigorated goth and dark music scene to encompass more inclusive values.\u003c/p>\n\u003cp>“To me it’s an important time to ask who the scene is going to include,” Sampson says. “What are the priorities of us as a community? … Who we are and what it is we’re here for?”\u003c/p>\n\u003cp>The Trans Prisoner Day of Action and Solidarity is a good place to start. First conceptualized by anarchist-activist and trans prisoner \u003ca href=\"https://supportmariusmason.org/\" target=\"_blank\" rel=\"noopener\">Marius Mason\u003c/a>, it raises awareness of the abuses trans people face in jails, prisons and immigration detention centers, including violence and sexual assault from guards and fellow inmates, solitary confinement and denial of medical treatment.\u003c/p>\n\u003cp>Trans inmates’ struggles are rarely acknowledged in the mainstream media, let alone by the criminal justice system. In 2018, the U.S. Federal Bureau of Prisons \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/12/610692321/the-guidelines-for-protection-of-transgender-prisoners-just-got-rewritten\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> Obama-era protections for trans prisoners, placing them at a higher risk of abuse while in custody.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4127978411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>TGIJP has been serving this population on the front lines for fifteen years, providing vital support networks, connecting current and former inmates to resources and organizing grassroots actions.\u003c/p>\n\u003cp>“To me they’re a really important and influential organization,” Sampson says. “There’s a lot of fundraising that I see for the \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://www.hrc.org/\" target=\"_blank\" rel=\"noopener\">Human Rights Campaign\u003c/a>, and that sort of thing, but there’s still a group of people not being represented there. I thought that since this is a release coming from the subculture, we don’t have to give our money to organizations already being supported by the mainstream. Incarcerated trans women, to me, sounds like a really isolated, dangerous situation to be in, and I wanted to support them as people who are the most vulnerable.” \u003c/p>\n\u003cfigure id=\"attachment_13849205\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg\" alt=\"The Bedroom Witch's experimental pop draws from social justice themes and the occult.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Bedroom Witch’s experimental pop draws from social justice themes and the occult. \u003ccite>(Kristin Cofer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the best compilations, listening to \u003cem>Sacred Spells\u003c/em> is an exercise in discovery, and there’s something for lovers of alternative and experimental music of all stripes. Some standout tracks include the aforementioned Malocculsion with the song “Wormfood”;”Tomorrow Never Comes,” an intricately-layered requiem by V.E.X.; the synth-driven moan of “Blood Debts” by Zanna Nera; “Ana Venus,” an urgent electronic foray by Grenoble’s Lovataraxx; and the hauntingly operatic “Scarecrow Jim Crow I’m a Demon Coming at You” by performance artist and musician M. Lamar, who happens to be the sibling of trans actress and activist Laverne Cox of \u003cem>Orange is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Sampson mostly focused on musical output when selecting artists for the project, they wanted to make sure that trans musicians occupied a prominent place on the slate. V.E.X., Aesthetic Barrier and The Bedroom Witch all include trans and non-binary musicians, and Sampson’s own solo side project—Yama Uba—is also featured with “Angel,” rounding out the selection with soaring vocals and a ruthless, insistent drum track.\u003c/p>\n\u003cp>Sepehr Mashiahof—who performs as The Bedroom Witch—embodies the multiple themes within \u003cem>Sacred Spells\u003c/em>: she’s an Iranian-American trans woman and self-identified witch, and her work courses with social justice and occult themes. Her track from \u003cem>Sacred Spells\u003c/em>, “This House is No Longer,” is a chilling reckoning, layered with melodic bells, squiggles of synths and poetic lyrics. In an email, she praised Sampson’s efforts to use creativity to help trans people facing violence and discrimination.\u003c/p>\n\u003cp>“For those who are watching this continued targeting of trans and non-binary people (especially against Black trans women) unfold and are looking for ways to help seek justice for the community,” she writes, “Supplementing the efforts of TGI Justice Project and other similar organizations directly is an accessible place to start.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Toro y Moi is the Most Regular Famous Person You'll Ever Meet",
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"content": "\u003cp>Toro y Moi has \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">sped through the Atlantic\u003c/a> on Diddy’s speedboat, produced for Travis Scott and performed for sold-out crowds around the world. But his day-to-day life in the Bay Area isn’t nearly as glamorous. Most of the time, in fact, he can be found collaborating with local artists at his warehouse on a graffiti-covered street in North Oakland—the home base of his design studio and record label, Company.\u003c/p>\n\u003cp>But glamor isn’t what the artist—real name Chaz Bear—looks for in a city. “If you look at Oakland and where it’s going, I feel like it’s a city for subcultural artists of color. It’s open-minded,” he tells me on a rainy afternoon at KQED’s San Francisco office, where he arrives wearing a neon-green, reflective worker’s jacket screenprinted with the Company Records logo.\u003c/p>\n\u003cp>Company’s headquarters isn’t far from the final freeway exit Bear takes in his 2017 one-take visual album, \u003ca href=\"https://youtu.be/9rPOuZ4vY50\" target=\"_blank\" rel=\"noopener\">\u003cem>Boo Boo\u003c/em>\u003c/a>, which follows his car from San Francisco and over the Bay Bridge into Oakland. Released after Bear reached a new pinnacle of mainstream success (the \u003ca href=\"https://www.youtube.com/watch?v=p-VjvajEJNw\" target=\"_blank\" rel=\"noopener\">Travis Scott collaboration\u003c/a> came in 2015 for the rapper’s chart-topping debut, \u003cem>Rodeo\u003c/em>; the Diddy connection took root that same year, backstage at Coachella), the \u003cem>Boo Boo\u003c/em> video served as metaphor, reaffirming his commitment to his adopted East Bay home while the music industry’s eyes were on him.\u003c/p>\n\u003cfigure id=\"attachment_11629028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629028\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg\" alt=\"Chaz Budnick of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaz Bear of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the year and a half between the heartbreak themes of \u003cem>Boo Boo\u003c/em> and his funkier, more danceable new Toro y Moi album, \u003cem>Outer Peace\u003c/em> (released Jan. 18 on Carpark Records), Bear established himself as a passionate supporter of the Bay Area’s creative community through collaborations with local artists. Those include diverse, interdisciplinary collectives \u003ca href=\"https://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>, \u003ca href=\"http://shadezine.com/\" target=\"_blank\" rel=\"noopener\">Shade Zine\u003c/a> and \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, all of whom have significantly shaped Oakland’s visual art and nightlife scenes in the past several years.\u003c/p>\n\u003cp>“The first show I played here was at Bottom of the Hill, and the first thing I noticed was how diverse the crowd was. The first two rows were Filipino teens,” says Bear, who is Filipino and African American, with a slight build, bleached hair and a soft-spoken demeanor. “This was my first show out of South Carolina, and I was blown away. It was cool to see a city that had a diverse subculture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Jm6hDWBZXc4\u003c/p>\n\u003cp>Bear arrived in the Bay Area in 2012, when he followed his then-girlfriend from South Carolina to her grad program at UC Berkeley. During that period, he rose in the ranks of the music blogosphere and became known as a key architect of chillwave, a fuzzed-out indie rock and electronic subgenre that continues to influence to today’s pop music landscape.\u003c/p>\n\u003cp>After moving to the Bay, Bear quickly gelled with the local scene—and his sound evolved, too. In part through various DJ gigs—including several at Wine & Bowties’ homegrown mini-festival, \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>—he honed the sleek, autotuned take on funk and disco that defines \u003cem>Outer Peace\u003c/em>. While \u003cem>Boo Boo\u003c/em> lamented his separation from his high-school sweetheart, \u003cem>Outer Peace\u003c/em> finds Bear in a productive and energized state. The album celebrates the creative hustle of self-employed artists behind their laptops; the debut single, appropriately, is called “Freelance.”\u003c/p>\n\u003cp>With creative partner Brendan Nakahara, Bear built Company’s headquarters on that “Freelance” ethos of a constant grind. When we talk, he likens it to a millennial version of Andy Warhol’s famed Factory, where white indie-rock dudes rub shoulders with black feminist photographers and Asian-American designers.\u003c/p>\n\u003cp>“It’s really sick to see these crews getting their foot in the door, and I feel like I’m in a position where I have to come in with the assist,” he reflects. “It’s almost required as a successful person—you have to give back. If you’re not giving opportunities, it’s kind of for the wrong reasons.”\u003c/p>\n\u003cp>As much as Bear loves Oakland, the sold-out kickoff show for his \u003cem>Outer Peace\u003c/em> tour at the New Parish proved that the town loves him right back. The eager audience applauded his slightly awkward dance moves, clapping along on the two and the four of almost every track.\u003c/p>\n\u003cfigure id=\"attachment_13848959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg\" alt=\"Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Company, Bear produces for several Oakland indie acts, including \u003ca href=\"https://tanukichan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tanukichan\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>. He mentors his artists on all aspects of the biz, including writing hooks, social media branding and booking shows. Unlike at a traditional label, “there’s no advance, but you get my time and my ear and my eye and we’ll make the best thing we can make,” Bear says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s good at putting people into contexts where they can then find their own voices, whether it’s producing a record or having them on for a tour,” says Astronauts, etc.’s Anthony Ferraro, who is also Bear’s touring keyboardist and has his own studio at Company HQ. “He’s a really good enabler. He has an intuition for that sort of thing.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Though Bear bases most of his collaborations on friendship, he ultimately sees Company as a business. To hang with his crew, you can’t be a purist with too many misgivings about “selling out,” nor harbor too many romantic aspirations of art existing outside of the market. For example, while many in the Bay Area’s creative scene bristle at mentions of the tech industry—a primary driver of gentrification and displacement in the region—Bear is quick to cite Instagram as a source of inspiration for his interdisciplinary curation at Company.\u003c/p>\n\u003cp>“D.I.Y. is great, but we also want it to pay for itself,” he says. “It’s hard to make that first jump as an artist, to put yourself out there and really sell it, do the interviews and brand your image, to go from playing house shows to being at The Fillmore.”\u003c/p>\n\u003cp>For instance, Salami Rose Joe Louis, one of his opening acts for his \u003cem>Outer Peace\u003c/em> tour (which kicked off Jan. 14 in Oakland), played the local house-show circuit as recently as six months ago. After they opened for Toro y Moi at The Novo, a 2,400-capacity club in Los Angeles, Bear remembers telling the band: “I’m sure you guys must be feeling crazy right now, but we’re really putting Oakland on.”\u003c/p>\n\u003cp>As much as he’s thrived on a D.I.Y. approach, Bear’s eventual goal is to own the Company Records building and build a more permanent infrastructure that includes a staff. Basically, he’s trying to implement the lessons he learned from hanging with Diddy on that boat off the Miami coast.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The knowledge I got from hanging out with artists who are bigger than me or more successful—you can’t read about that sort of stuff, you just have to see it,” he says. “It’s fun to see how other camps work in bigger industries, and to bring that knowledge back down to the indie scene is valuable.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Though he's worked with Travis Scott and taken boat rides with Diddy, Toro y Moi is committed as ever to Oakland's local scene. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toro y Moi has \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">sped through the Atlantic\u003c/a> on Diddy’s speedboat, produced for Travis Scott and performed for sold-out crowds around the world. But his day-to-day life in the Bay Area isn’t nearly as glamorous. Most of the time, in fact, he can be found collaborating with local artists at his warehouse on a graffiti-covered street in North Oakland—the home base of his design studio and record label, Company.\u003c/p>\n\u003cp>But glamor isn’t what the artist—real name Chaz Bear—looks for in a city. “If you look at Oakland and where it’s going, I feel like it’s a city for subcultural artists of color. It’s open-minded,” he tells me on a rainy afternoon at KQED’s San Francisco office, where he arrives wearing a neon-green, reflective worker’s jacket screenprinted with the Company Records logo.\u003c/p>\n\u003cp>Company’s headquarters isn’t far from the final freeway exit Bear takes in his 2017 one-take visual album, \u003ca href=\"https://youtu.be/9rPOuZ4vY50\" target=\"_blank\" rel=\"noopener\">\u003cem>Boo Boo\u003c/em>\u003c/a>, which follows his car from San Francisco and over the Bay Bridge into Oakland. Released after Bear reached a new pinnacle of mainstream success (the \u003ca href=\"https://www.youtube.com/watch?v=p-VjvajEJNw\" target=\"_blank\" rel=\"noopener\">Travis Scott collaboration\u003c/a> came in 2015 for the rapper’s chart-topping debut, \u003cem>Rodeo\u003c/em>; the Diddy connection took root that same year, backstage at Coachella), the \u003cem>Boo Boo\u003c/em> video served as metaphor, reaffirming his commitment to his adopted East Bay home while the music industry’s eyes were on him.\u003c/p>\n\u003cfigure id=\"attachment_11629028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629028\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg\" alt=\"Chaz Budnick of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaz Bear of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the year and a half between the heartbreak themes of \u003cem>Boo Boo\u003c/em> and his funkier, more danceable new Toro y Moi album, \u003cem>Outer Peace\u003c/em> (released Jan. 18 on Carpark Records), Bear established himself as a passionate supporter of the Bay Area’s creative community through collaborations with local artists. Those include diverse, interdisciplinary collectives \u003ca href=\"https://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>, \u003ca href=\"http://shadezine.com/\" target=\"_blank\" rel=\"noopener\">Shade Zine\u003c/a> and \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, all of whom have significantly shaped Oakland’s visual art and nightlife scenes in the past several years.\u003c/p>\n\u003cp>“The first show I played here was at Bottom of the Hill, and the first thing I noticed was how diverse the crowd was. The first two rows were Filipino teens,” says Bear, who is Filipino and African American, with a slight build, bleached hair and a soft-spoken demeanor. “This was my first show out of South Carolina, and I was blown away. It was cool to see a city that had a diverse subculture.”\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/Jm6hDWBZXc4'\n title='//www.youtube.com/embed/Jm6hDWBZXc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bear arrived in the Bay Area in 2012, when he followed his then-girlfriend from South Carolina to her grad program at UC Berkeley. During that period, he rose in the ranks of the music blogosphere and became known as a key architect of chillwave, a fuzzed-out indie rock and electronic subgenre that continues to influence to today’s pop music landscape.\u003c/p>\n\u003cp>After moving to the Bay, Bear quickly gelled with the local scene—and his sound evolved, too. In part through various DJ gigs—including several at Wine & Bowties’ homegrown mini-festival, \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>—he honed the sleek, autotuned take on funk and disco that defines \u003cem>Outer Peace\u003c/em>. While \u003cem>Boo Boo\u003c/em> lamented his separation from his high-school sweetheart, \u003cem>Outer Peace\u003c/em> finds Bear in a productive and energized state. The album celebrates the creative hustle of self-employed artists behind their laptops; the debut single, appropriately, is called “Freelance.”\u003c/p>\n\u003cp>With creative partner Brendan Nakahara, Bear built Company’s headquarters on that “Freelance” ethos of a constant grind. When we talk, he likens it to a millennial version of Andy Warhol’s famed Factory, where white indie-rock dudes rub shoulders with black feminist photographers and Asian-American designers.\u003c/p>\n\u003cp>“It’s really sick to see these crews getting their foot in the door, and I feel like I’m in a position where I have to come in with the assist,” he reflects. “It’s almost required as a successful person—you have to give back. If you’re not giving opportunities, it’s kind of for the wrong reasons.”\u003c/p>\n\u003cp>As much as Bear loves Oakland, the sold-out kickoff show for his \u003cem>Outer Peace\u003c/em> tour at the New Parish proved that the town loves him right back. The eager audience applauded his slightly awkward dance moves, clapping along on the two and the four of almost every track.\u003c/p>\n\u003cfigure id=\"attachment_13848959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg\" alt=\"Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Company, Bear produces for several Oakland indie acts, including \u003ca href=\"https://tanukichan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tanukichan\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>. He mentors his artists on all aspects of the biz, including writing hooks, social media branding and booking shows. Unlike at a traditional label, “there’s no advance, but you get my time and my ear and my eye and we’ll make the best thing we can make,” Bear says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s good at putting people into contexts where they can then find their own voices, whether it’s producing a record or having them on for a tour,” says Astronauts, etc.’s Anthony Ferraro, who is also Bear’s touring keyboardist and has his own studio at Company HQ. “He’s a really good enabler. He has an intuition for that sort of thing.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Though Bear bases most of his collaborations on friendship, he ultimately sees Company as a business. To hang with his crew, you can’t be a purist with too many misgivings about “selling out,” nor harbor too many romantic aspirations of art existing outside of the market. For example, while many in the Bay Area’s creative scene bristle at mentions of the tech industry—a primary driver of gentrification and displacement in the region—Bear is quick to cite Instagram as a source of inspiration for his interdisciplinary curation at Company.\u003c/p>\n\u003cp>“D.I.Y. is great, but we also want it to pay for itself,” he says. “It’s hard to make that first jump as an artist, to put yourself out there and really sell it, do the interviews and brand your image, to go from playing house shows to being at The Fillmore.”\u003c/p>\n\u003cp>For instance, Salami Rose Joe Louis, one of his opening acts for his \u003cem>Outer Peace\u003c/em> tour (which kicked off Jan. 14 in Oakland), played the local house-show circuit as recently as six months ago. After they opened for Toro y Moi at The Novo, a 2,400-capacity club in Los Angeles, Bear remembers telling the band: “I’m sure you guys must be feeling crazy right now, but we’re really putting Oakland on.”\u003c/p>\n\u003cp>As much as he’s thrived on a D.I.Y. approach, Bear’s eventual goal is to own the Company Records building and build a more permanent infrastructure that includes a staff. Basically, he’s trying to implement the lessons he learned from hanging with Diddy on that boat off the Miami coast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The knowledge I got from hanging out with artists who are bigger than me or more successful—you can’t read about that sort of stuff, you just have to see it,” he says. “It’s fun to see how other camps work in bigger industries, and to bring that knowledge back down to the indie scene is valuable.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>[contextly_sidebar id=”E8dcgti8t3snQOl5snGiGnYKvBvvpBDH”]\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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