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"content": "\u003cfigure id=\"attachment_13846437\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg\" alt=\"Voicehandler, 'light from another light.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Voicehandler, ‘light from another light.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A wealth of improvised music appeared from Bay Area experimentalists in 2018, often featuring electronic and acoustic instruments nestled together. Zachary Watkins and Marshall Trammell released their final project as Black Spirituals, and \u003ca href=\"https://www.kqed.org/arts/13844696/improviser-bill-orcutts-brace-up-marks-an-incredible-second-act\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a> partnered with Chris Corsano on the combustible \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Brace Up! \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And among the local free music scene’s most inspired dispatches is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Humbler Records)\u003c/span>\u003cspan style=\"font-weight: 400\">, Danishta Rivero and Jacob Heule’s second full-length as \u003ca href=\"https://humbler.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two are fixtures in Oakland’s experimental set: Rivero, working with voice and modular electronics, is also one half of left-field reggaet\u003c/span>\u003cspan style=\"font-weight: 400\">ó\u003c/span>\u003cspan style=\"font-weight: 400\">n duo\u003c/span>\u003cspan style=\"font-weight: 400\"> Las Sucias, while Heule is an active show booker and serially collaborating percussionist. As Voicehandler, who last released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Song Cycle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in 2015, Rivero and Heule have a sensitive, painterly rapport and a seemingly bottomless supply of technique and expressive ingenuity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Light from another light\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> collects loose improvisations, free of easily discernible motifs but suffused with enchantment and otherworldly allure.\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=935253021/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>\u003cspan style=\"font-weight: 400\">Absent of blustery chaos, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">feels at once free and focused. The album features three pieces, each recorded a week apart last summer. They’re strikingly divergent from one another in terms of tone and intensity: opener “June 8” is feverishly abuzz with manic scatting; “June 1” builds up a meditative drone with an air of suspense; closer “May 25″ is at first halting and spare, rendering Heule’s percussion with painstaking clarity. [contextly_sidebar id=”sS8gh6XyfkSTixt0FTvIsqE5Ukz1e0l2”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album starts at its busiest point, with a rush of pinball percussion and spiraling cries, but upon repeat listens its softest and steadiest passages emerge as the most captivating: hushed breath and brushwork near the end of “May 25,” for instance, or the buzz-roll bobbing in static on “June 1.” Heule is a bravura drummer with a surgical sense for accents, stressing beats you forgot existed with timbres that might never reappear, but the music isn’t cluttered. 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Zachary Watkins and Marshall Trammell released their final project as Black Spirituals, and \u003ca href=\"https://www.kqed.org/arts/13844696/improviser-bill-orcutts-brace-up-marks-an-incredible-second-act\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a> partnered with Chris Corsano on the combustible \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Brace Up! \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And among the local free music scene’s most inspired dispatches is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Humbler Records)\u003c/span>\u003cspan style=\"font-weight: 400\">, Danishta Rivero and Jacob Heule’s second full-length as \u003ca href=\"https://humbler.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two are fixtures in Oakland’s experimental set: Rivero, working with voice and modular electronics, is also one half of left-field reggaet\u003c/span>\u003cspan style=\"font-weight: 400\">ó\u003c/span>\u003cspan style=\"font-weight: 400\">n duo\u003c/span>\u003cspan style=\"font-weight: 400\"> Las Sucias, while Heule is an active show booker and serially collaborating percussionist. As Voicehandler, who last released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Song Cycle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in 2015, Rivero and Heule have a sensitive, painterly rapport and a seemingly bottomless supply of technique and expressive ingenuity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Light from another light\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> collects loose improvisations, free of easily discernible motifs but suffused with enchantment and otherworldly allure.\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=935253021/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>\u003cspan style=\"font-weight: 400\">Absent of blustery chaos, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">feels at once free and focused. 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"content": "\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The fabulously eccentric performance artist and experimental musician Laurie Anderson is SFJAZZ’s resident artistic director this season, and that’s not the only thing she’s been up to in San Francisco this year: she also collaborated with the trendsetting Kronos Quartet on an excellent spoken-word-meets-contemporary-classical album, \u003cem>Landfall\u003c/em>, which came out in February.\u003c/p>\n\u003cp>Anderson has several dates coming up at SFJAZZ, and not all of them are sold out. On Friday, Nov. 30, she’s performing her late husband Lou Reed’s \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-lou-reed-drones-viola-duets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Drone\u003c/em>\u003c/a> piece, a composition that hinges on droning guitar feedback. Anderson and Eyvind Kang will be on viola, with saxophonist Ulrich Krieger and guitar technician Stewart Hurwood accompanying them.\u003c/p>\n\u003cp>Then, on Dec. 1, Anderson has a show called \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-songs-for-men/\" target=\"_blank\" rel=\"noopener\">\u003cem>Song for Men\u003c/em>\u003c/a> (a complement to her sold-out \u003cem>Songs for Women\u003c/em> show on Nov. 29). At both performances, which incorporate jazz, electronic music and storytelling, Anderson performs songs she’s written for specific people in her life. At \u003cem>Songs for Men\u003c/em>, Bay Area experimental composer and percussionist Scott Amendola joins Anderson on drums and electronics for a night of improvisation.\u003c/p>\n\u003cp>On Dec. 2, Anderson collaborates with avant-garde guitarist and Mills College professor Fred Frith for \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-scenes-from-my-radio-play/\" target=\"_blank\" rel=\"noopener\">\u003cem>Scenes From My Radio Play\u003c/em>\u003c/a>, “invoking hypnosis, memory, old juke joints, canoe trips and love.”\u003c/p>\n\u003cp>Details for the entire concert series can be found \u003ca href=\"https://www.sfjazz.org/calendar/?month=11.2018&series=18135\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vkfpi2H8tOE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fabulously eccentric performance artist and experimental musician Laurie Anderson is SFJAZZ’s resident artistic director this season, and that’s not the only thing she’s been up to in San Francisco this year: she also collaborated with the trendsetting Kronos Quartet on an excellent spoken-word-meets-contemporary-classical album, \u003cem>Landfall\u003c/em>, which came out in February.\u003c/p>\n\u003cp>Anderson has several dates coming up at SFJAZZ, and not all of them are sold out. On Friday, Nov. 30, she’s performing her late husband Lou Reed’s \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-lou-reed-drones-viola-duets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Drone\u003c/em>\u003c/a> piece, a composition that hinges on droning guitar feedback. Anderson and Eyvind Kang will be on viola, with saxophonist Ulrich Krieger and guitar technician Stewart Hurwood accompanying them.\u003c/p>\n\u003cp>Then, on Dec. 1, Anderson has a show called \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-songs-for-men/\" target=\"_blank\" rel=\"noopener\">\u003cem>Song for Men\u003c/em>\u003c/a> (a complement to her sold-out \u003cem>Songs for Women\u003c/em> show on Nov. 29). At both performances, which incorporate jazz, electronic music and storytelling, Anderson performs songs she’s written for specific people in her life. At \u003cem>Songs for Men\u003c/em>, Bay Area experimental composer and percussionist Scott Amendola joins Anderson on drums and electronics for a night of improvisation.\u003c/p>\n\u003cp>On Dec. 2, Anderson collaborates with avant-garde guitarist and Mills College professor Fred Frith for \u003ca href=\"https://www.sfjazz.org/tickets/productions/laurie-anderson-scenes-from-my-radio-play/\" target=\"_blank\" rel=\"noopener\">\u003cem>Scenes From My Radio Play\u003c/em>\u003c/a>, “invoking hypnosis, memory, old juke joints, canoe trips and love.”\u003c/p>\n\u003cp>Details for the entire concert series can be found \u003ca href=\"https://www.sfjazz.org/calendar/?month=11.2018&series=18135\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you’ve waited for a bus along Market Street at any point this year, you’ve likely noticed the 2018 Art on Market Street Poster Series, courtesy of the San Francisco Arts Commission, is dedicated to the theme of “sanctuary.” And if you somehow didn’t notice Miguel Arzabe, Rodney Ewing, Weston Teruya and, soon, Sofia Córdova’s posters, now you know where to look. \u003c/p>\n\u003cp>Over the past 11 months, the artists have addressed the subject in a variety of ways: \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/artists-explore-what-it-means-be-sanctuary-city\" rel=\"noopener\" target=\"_blank\">Arzabe\u003c/a> physically wove together posters from different political movements and cultural events in San Francisco history; \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/debate-about-sanctuary-cities-artist-rodney-ewing-brings\" rel=\"noopener\" target=\"_blank\">Ewing\u003c/a> layered official and unofficial pieces of documentation from immigrants’ life stories; and \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/local-artist-weston-teruya-explores-importance-reslience\" rel=\"noopener\" target=\"_blank\">Teruya\u003c/a> collaborated with Bay Area artists to create sculptural talismans that invoke moments of solidarity and intersectionality. \u003c/p>\n\u003cp>In conjunction with her forthcoming designs, on Monday, Nov. 26, starting at 7pm, \u003ca href=\"https://www.sofiacordova.com/\" rel=\"noopener\" target=\"_blank\">Córdova\u003c/a> and Matthew Gonzalez Kirkland (who collaborate musically under the moniker \u003ca href=\"https://soundcloud.com/xuxasantamaria\" rel=\"noopener\" target=\"_blank\">Xuxa Santamaria\u003c/a>), perform a half-hour experimental score titled \u003ci>\u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener\" target=\"_blank\">Song4Sanctuary\u003c/a>\u003c/i> in the cavernous rotunda of San Francisco’s City Hall.\u003c/p>\n\u003cp>Pulling from the popular music of immigrant diasporas that benefit from San Francisco’s sanctuary-city status, Xuxa Santamaria’s performance is complemented by movement from Oakland-based dancer Stephanie Hewett. Audio recorded from Bay Area radio stations include snippets of disk-jockey chatter, music and advertising, recreating and remixing the sonic space inhabited by various immigrant communities in the city’s most potent architectural symbol. \u003c/p>\n\u003cp>Fittingly, the event is \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener\" target=\"_blank\">free and open to all\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve waited for a bus along Market Street at any point this year, you’ve likely noticed the 2018 Art on Market Street Poster Series, courtesy of the San Francisco Arts Commission, is dedicated to the theme of “sanctuary.” And if you somehow didn’t notice Miguel Arzabe, Rodney Ewing, Weston Teruya and, soon, Sofia Córdova’s posters, now you know where to look. \u003c/p>\n\u003cp>Over the past 11 months, the artists have addressed the subject in a variety of ways: \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/artists-explore-what-it-means-be-sanctuary-city\" rel=\"noopener\" target=\"_blank\">Arzabe\u003c/a> physically wove together posters from different political movements and cultural events in San Francisco history; \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/debate-about-sanctuary-cities-artist-rodney-ewing-brings\" rel=\"noopener\" target=\"_blank\">Ewing\u003c/a> layered official and unofficial pieces of documentation from immigrants’ life stories; and \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/local-artist-weston-teruya-explores-importance-reslience\" rel=\"noopener\" target=\"_blank\">Teruya\u003c/a> collaborated with Bay Area artists to create sculptural talismans that invoke moments of solidarity and intersectionality. \u003c/p>\n\u003cp>In conjunction with her forthcoming designs, on Monday, Nov. 26, starting at 7pm, \u003ca href=\"https://www.sofiacordova.com/\" rel=\"noopener\" target=\"_blank\">Córdova\u003c/a> and Matthew Gonzalez Kirkland (who collaborate musically under the moniker \u003ca href=\"https://soundcloud.com/xuxasantamaria\" rel=\"noopener\" target=\"_blank\">Xuxa Santamaria\u003c/a>), perform a half-hour experimental score titled \u003ci>\u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener\" target=\"_blank\">Song4Sanctuary\u003c/a>\u003c/i> in the cavernous rotunda of San Francisco’s City Hall.\u003c/p>\n\u003cp>Pulling from the popular music of immigrant diasporas that benefit from San Francisco’s sanctuary-city status, Xuxa Santamaria’s performance is complemented by movement from Oakland-based dancer Stephanie Hewett. Audio recorded from Bay Area radio stations include snippets of disk-jockey chatter, music and advertising, recreating and remixing the sonic space inhabited by various immigrant communities in the city’s most potent architectural symbol. \u003c/p>\n\u003cp>Fittingly, the event is \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener\" target=\"_blank\">free and open to all\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A few weeks before the release of Russell E.L. Butler’s long-awaited album, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, the Oakland techno luminary is feeling nostalgic. Butler grew up in Bermuda, a tiny British territory with a majority-black population, in a house full of books. So, for our interview, Butler invites me to meet up at Marcus Books, the oldest black-owned bookstore in the United States and a stone’s throw from the first apartment the artist lived in after settling in Oakland in 2009.\u003c/p>\n\u003cp>Butler first came to Marcus Books a few years ago to drop off donations for a book drive a friend organized for San Quentin inmates. “It felt like something I’d been missing for a long time, this cultural experience,” says Butler as we stand outside the store, next to a mural of a rifle-toting Malcolm X. “These places that center our creativity are invaluable, especially in this age where you can hit ‘add to cart’ and hit ‘subscribe’ and you’re getting your monthly re-up of books.”\u003c/p>\n\u003cp>Butler’s dad, the author \u003ca href=\"http://bernews.com/2016/12/dale-butler-releases-bermuda-nicknames-book/\" target=\"_blank\" rel=\"noopener\">Dale Butler\u003c/a>, devoted his career to chronicling Bermuda’s distinct culture and history at a time when, as often happens in colonized places with melting-pot demographics, inhabitants questioned whether a unique local culture truly exists. “There’s a lot of people back home that talk about Bermudians not having culture, but they’re so culturally rich,” says Butler. “[My dad] felt this obligation to document this stuff so that wouldn’t be an excuse for people.”\u003c/p>\n\u003cp>The younger Butler’s music is rooted in similar ambitions of advocacy through creativity. But \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is less about cultural preservation and more about actively shaping culture in real time—in Butler’s case, working toward a culture that takes care of queer and trans people, black people, immigrants, low-income folks and artists.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://lefthandpathwax.bandcamp.com/album/the-home-id-build-for-myself-and-all-my-friends\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Butler (who uses the pronoun they), a safe space isn’t just some abstract ideal—it’s a material need. They’re an affiliate of Club Chai, the queer- and trans-forward Bay Area club music collective rooted in global rhythms that slip easily between genres and borders. Club Chai grew out of a warehouse scene that Butler became immersed in upon moving to Oakland after graduating from School of the Museum of Fine Arts at Tufts University. It’s the same underground electronic music scene that suffered an immense loss in the 2016 Ghost Ship fire. [contextly_sidebar id=”Tz9nt8MIrN9kA7tinlDJwpLwAVR5RktK”]\u003c/p>\n\u003cp>Butler was slated to perform that night on Dec. 2, 2016, but happened to be outside the East Oakland artist warehouse when it went up in flames. Sadly, they lost 17 of their friends, many of whom were queer and trans underground electronic musicians.\u003c/p>\n\u003cp>The music Butler has released since speaks to the artist’s difficult healing process. “I’m 32 and I’m just like, cool, what else life? What else, yo?” Butler tells me as we browse Octavia Butler’s apocalyptic science fiction at Marcus. “I survived all these things I thought would kill me. What now?”\u003c/p>\n\u003cp>In early 2017, Butler released an EP, \u003cem>I’m Dropping Out of Life\u003c/em>, which was already in the works before the Ghost Ship fire; Butler had been workshopping two of the tracks in a producers’ meetup group run by Chelsea Faith Dolan, a.k.a. Cherushii, a beloved local house musician who died at Ghost Ship. While in the liner notes, Butler specified that the life they’re dropping out of is an \u003cem>uninspired\u003c/em> one, alluding to the need to seize the day, the record’s sentiment was decidedly dour compared to the emphasis on creation and possibility for \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, which comes out on Nov. 15 through San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a>. [contextly_sidebar id=”d9yBi2RWNkULQlpCi1PB0QKrPRL9jGBK”]\u003c/p>\n\u003cp>That said, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em> isn’t the soothing music of an imagined utopia: sonically, it manifests many of the tensions and struggles of everyday life in a polarized place like Oakland—where luxury apartments are jarringly juxtaposed next to homeless encampments, and violence is as enmeshed in the day-to-day as art and music. Not traditional techno by any means, Butler’s tracks sound like they’re wrestling, fighting. Fat bass lines jut out like springs; eerie synth notes creep, like an approaching shadow in one’s peripheral vision, with a tension that never quite dissipates.\u003c/p>\n\u003cp>“It’s not to elicit this feeling for foreboding or negativity—it’s in order to elicit this extreme complexity, and feeling overwhelmed,” Butler says. “Because of the album’s name and its look, I thought a lot about, if I’m trying to create this space, am I at all served by thinking of it in a utopic fashion? … I’m creating this idealistic space, but that doesn’t mean there isn’t a breadth and depth of feeling in that. It isn’t all sunshine and rainbows and shit. It’s hard work and struggle.”\u003c/p>\n\u003cfigure id=\"attachment_13844582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg\" alt=\"Russell E.L. Butler. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russell E.L. Butler. \u003ccite>(Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This ability to hold seemingly contradictory realities at once stems from Butler’s life experiences as a queer, non-binary immigrant. They’re used to often being the first: the first Bermudan person people meet in Oakland, the first person who uses “they/them” pronouns someone encounters, the first black person who isn’t African American. For a long time, as their star rose in the local scene, they felt isolated constantly having to translate their identity to strangers. But eventually, they shifted their perspective and began to view their unique circumstances as a position of possibility to move the culture forward.\u003c/p>\n\u003cp>“In my knowledge and my upbringing at the very least, I didn’t learn about people doing what I’m doing, who look like me and are from where I’m from, who were involved in any measure of this shit at all,” says Butler. “I have some trepidation saying I’m the first X, but a lot of the time I am. And that comes with a lot of responsibility I take really seriously.”\u003c/p>\n\u003cp>This sense of responsibility means forging new paths, new ways of thought, for the lofty ambition of building a more equitable society, Butler says. On \u003cem>The Home I’d Build for Myself and All My Friends,\u003c/em> techno is the language Butler uses to bring these new realities into being.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Butler tells me, “I’m forging the history of my people as I’m creating it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks before the release of Russell E.L. Butler’s long-awaited album, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, the Oakland techno luminary is feeling nostalgic. Butler grew up in Bermuda, a tiny British territory with a majority-black population, in a house full of books. So, for our interview, Butler invites me to meet up at Marcus Books, the oldest black-owned bookstore in the United States and a stone’s throw from the first apartment the artist lived in after settling in Oakland in 2009.\u003c/p>\n\u003cp>Butler first came to Marcus Books a few years ago to drop off donations for a book drive a friend organized for San Quentin inmates. “It felt like something I’d been missing for a long time, this cultural experience,” says Butler as we stand outside the store, next to a mural of a rifle-toting Malcolm X. “These places that center our creativity are invaluable, especially in this age where you can hit ‘add to cart’ and hit ‘subscribe’ and you’re getting your monthly re-up of books.”\u003c/p>\n\u003cp>Butler’s dad, the author \u003ca href=\"http://bernews.com/2016/12/dale-butler-releases-bermuda-nicknames-book/\" target=\"_blank\" rel=\"noopener\">Dale Butler\u003c/a>, devoted his career to chronicling Bermuda’s distinct culture and history at a time when, as often happens in colonized places with melting-pot demographics, inhabitants questioned whether a unique local culture truly exists. “There’s a lot of people back home that talk about Bermudians not having culture, but they’re so culturally rich,” says Butler. “[My dad] felt this obligation to document this stuff so that wouldn’t be an excuse for people.”\u003c/p>\n\u003cp>The younger Butler’s music is rooted in similar ambitions of advocacy through creativity. But \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is less about cultural preservation and more about actively shaping culture in real time—in Butler’s case, working toward a culture that takes care of queer and trans people, black people, immigrants, low-income folks and artists.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://lefthandpathwax.bandcamp.com/album/the-home-id-build-for-myself-and-all-my-friends\" 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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Butler (who uses the pronoun they), a safe space isn’t just some abstract ideal—it’s a material need. They’re an affiliate of Club Chai, the queer- and trans-forward Bay Area club music collective rooted in global rhythms that slip easily between genres and borders. Club Chai grew out of a warehouse scene that Butler became immersed in upon moving to Oakland after graduating from School of the Museum of Fine Arts at Tufts University. It’s the same underground electronic music scene that suffered an immense loss in the 2016 Ghost Ship fire. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Butler was slated to perform that night on Dec. 2, 2016, but happened to be outside the East Oakland artist warehouse when it went up in flames. Sadly, they lost 17 of their friends, many of whom were queer and trans underground electronic musicians.\u003c/p>\n\u003cp>The music Butler has released since speaks to the artist’s difficult healing process. “I’m 32 and I’m just like, cool, what else life? What else, yo?” Butler tells me as we browse Octavia Butler’s apocalyptic science fiction at Marcus. “I survived all these things I thought would kill me. What now?”\u003c/p>\n\u003cp>In early 2017, Butler released an EP, \u003cem>I’m Dropping Out of Life\u003c/em>, which was already in the works before the Ghost Ship fire; Butler had been workshopping two of the tracks in a producers’ meetup group run by Chelsea Faith Dolan, a.k.a. Cherushii, a beloved local house musician who died at Ghost Ship. While in the liner notes, Butler specified that the life they’re dropping out of is an \u003cem>uninspired\u003c/em> one, alluding to the need to seize the day, the record’s sentiment was decidedly dour compared to the emphasis on creation and possibility for \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, which comes out on Nov. 15 through San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That said, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em> isn’t the soothing music of an imagined utopia: sonically, it manifests many of the tensions and struggles of everyday life in a polarized place like Oakland—where luxury apartments are jarringly juxtaposed next to homeless encampments, and violence is as enmeshed in the day-to-day as art and music. Not traditional techno by any means, Butler’s tracks sound like they’re wrestling, fighting. Fat bass lines jut out like springs; eerie synth notes creep, like an approaching shadow in one’s peripheral vision, with a tension that never quite dissipates.\u003c/p>\n\u003cp>“It’s not to elicit this feeling for foreboding or negativity—it’s in order to elicit this extreme complexity, and feeling overwhelmed,” Butler says. “Because of the album’s name and its look, I thought a lot about, if I’m trying to create this space, am I at all served by thinking of it in a utopic fashion? … I’m creating this idealistic space, but that doesn’t mean there isn’t a breadth and depth of feeling in that. It isn’t all sunshine and rainbows and shit. It’s hard work and struggle.”\u003c/p>\n\u003cfigure id=\"attachment_13844582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg\" alt=\"Russell E.L. Butler. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russell E.L. Butler. \u003ccite>(Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This ability to hold seemingly contradictory realities at once stems from Butler’s life experiences as a queer, non-binary immigrant. They’re used to often being the first: the first Bermudan person people meet in Oakland, the first person who uses “they/them” pronouns someone encounters, the first black person who isn’t African American. For a long time, as their star rose in the local scene, they felt isolated constantly having to translate their identity to strangers. But eventually, they shifted their perspective and began to view their unique circumstances as a position of possibility to move the culture forward.\u003c/p>\n\u003cp>“In my knowledge and my upbringing at the very least, I didn’t learn about people doing what I’m doing, who look like me and are from where I’m from, who were involved in any measure of this shit at all,” says Butler. “I have some trepidation saying I’m the first X, but a lot of the time I am. And that comes with a lot of responsibility I take really seriously.”\u003c/p>\n\u003cp>This sense of responsibility means forging new paths, new ways of thought, for the lofty ambition of building a more equitable society, Butler says. On \u003cem>The Home I’d Build for Myself and All My Friends,\u003c/em> techno is the language Butler uses to bring these new realities into being.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Butler tells me, “I’m forging the history of my people as I’m creating it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Near Dark Festival Descends Upon Oakland",
"headTitle": "Near Dark Festival Descends Upon Oakland | KQED",
"content": "\u003cp>Whether one calls it goth, dark punk, darkwave or deathrock, there’s no denying the enduring appeal of music from the bleaker end of the spectrum. It’s a scene that continues to attract plenty of new fans and bands, even four decades after its emergence.\u003c/p>\n\u003cp>Oakland’s darkwave scene is much more than a niche pocket of fandom. The upcoming \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">Near Dark Festival\u003c/a> connects local bands like \u003ca href=\"https://adrenochromeoakland.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Adrenochrome\u003c/a> and \u003ca href=\"https://mysticpriestess.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mystic Priestess\u003c/a> to an international tribe stretching from the U.K. to Chile. Co-organizers Gina Marie Scardino and Brianne Hanshaw (both of Adrenochrome) booked a diverse array of darkwave veterans and emerging bands for three nights of shows taking place Sept. 13–15 at The Golden Bull, The Uptown and Eli’s Mile High Club.\u003c/p>\n\u003cp>“Our main goal is bringing bands and people to Oakland who have never played or been here,” says Scardino, who also plays in post-punk trio Ötzi and owns Near Dark Records and King Kog bike shop. Last year, she helped book the West Coast Women’s Darkwave Festival as well as the first edition of Near Dark. She says she’s proud to provide this rare opportunity to see international legends in Oakland’s own backyard.\u003c/p>\n\u003cfigure id=\"attachment_13840575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrenochrome, including Near Dark fest curators Gina Marie Scardino (on vocals) and Brianne Hanshaw (on drums) open the Near Dark festival on Sept. 13 at The Golden Bull. \u003ccite>(Matthe Kadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a conscious effort on Scardino and Hanshaw’s part to ensure that their festival is as inclusive as possible. The website and show flyers include clear statements against racist, sexist and transphobic behavior; all three show venues are wheelchair accessible; and band members reflect a plurality of identities and musical genres.\u003c/p>\n\u003cp>“It’s important to make sure there’s a place for marginalized people in any scene: queer people, women, people of color,” she says. “Considering the whole big picture when you put a show together is really important.” Scardino’s main regret? That she couldn’t find an all-ages venue for this year’s festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A touring musician herself, Scardino has played in dark music festivals elsewhere, including \u003ca href=\"http://www.sanlamuertefest.com/\" target=\"_blank\" rel=\"noopener\">San La Muerte Festival\u003c/a> in San Antonio, Texas. She figured the tight-knit community of darkwave and post-punk fans in Oakland would support a similar fest. Named after the nascent music label she founded in 2017, each evening of Near Dark is a miniature experiment in genre-blending, with several long-established headliners—including Los Angeles’ Kommunity FK celebrating their 40-year anniversary—supported by a constellation of more recent formations.\u003c/p>\n\u003cp>“Every lineup from start to finish is going to be mind-blowing,” promises Scardino. She admits to personal excitement over Friday’s headliner, Rubella Ballet, an anarcho-punk band from the U.K.\u003c/p>\n\u003cfigure id=\"attachment_13840574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-800x1006.jpg\" alt=\"\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-520x654.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotland’s Twisted Nerve make their first U.S. appearance at Oakland’s Near Dark festival on Sept. 15 at Eli’s Mile High Club. \u003ccite>(Sarah E. Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eschewing the drearier, gothic garb of their contemporaries, Rubella Ballet (currently anchored by Zillah Minx and Sid Truelove) have dressed up in shocking, Day-Glo colors since their inception in 1979, combining playful, tongue-in-cheek lyrics with relentless hooks, layered vocals and moshable energy. Near Dark Records’ co-release (with Portland label Last Hour) of their hard-to-find singles, \u003cem>Day Glo Daze\u003c/em>, will be available at the fest.\u003c/p>\n\u003cp>“They’ve been an inspiration to a lot of bands, but haven’t been here since the ’80s, so it’s really exciting that they’re coming,” says Scardino. “I can’t wait to meet them in person.”\u003c/p>\n\u003cp>Another legendary band slated to headline is equally old-school Twisted Nerve, a goth-punk quartet from Edinburgh formed in 1978. Involved in the original Batcave scene in 1980s London, they play their first and only U.S. show—ever—on the final night of the fest at Eli’s.\u003c/p>\n\u003cp>Another old-school band on the bill, the U.K.’s 13\u003csup>th\u003c/sup> Chime, will also play on Sept. 15. Their early-’80s, Joy Division-esque sound faded into a music-history footnote until recent reissues of their early recordings from the label Sacred Bones gave them new life.\u003c/p>\n\u003cp>Other notable international acts on the bill include queer female darkwave duo Diavol Strain from Chile and Fatamorgana from Barcelona, whose lead singer, Patrycja Aleksandra, met Scardino at San La Muerte festival in 2016.\u003c/p>\n\u003cfigure id=\"attachment_13840576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_Mati%CC%81Solemnis-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lau M and Ginger Blue of Chilean darkwave band, Diavol Strain, playing the Near Dark festival, Saturday, Sept 15, at Eli’s Mile High Club. \u003ccite>(Matí Solemnis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I hope that people will give them a chance, even if they’ve never heard them before,” Scardino enthuses. ‘They’re all so freaking good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Near Dark Festival takes place Sept. 13–15 in Oakland. Details \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Near Dark, Oakland’s goth, darkwave and post-punk festival, features cult veterans alongside emerging acts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether one calls it goth, dark punk, darkwave or deathrock, there’s no denying the enduring appeal of music from the bleaker end of the spectrum. It’s a scene that continues to attract plenty of new fans and bands, even four decades after its emergence.\u003c/p>\n\u003cp>Oakland’s darkwave scene is much more than a niche pocket of fandom. The upcoming \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">Near Dark Festival\u003c/a> connects local bands like \u003ca href=\"https://adrenochromeoakland.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Adrenochrome\u003c/a> and \u003ca href=\"https://mysticpriestess.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mystic Priestess\u003c/a> to an international tribe stretching from the U.K. to Chile. Co-organizers Gina Marie Scardino and Brianne Hanshaw (both of Adrenochrome) booked a diverse array of darkwave veterans and emerging bands for three nights of shows taking place Sept. 13–15 at The Golden Bull, The Uptown and Eli’s Mile High Club.\u003c/p>\n\u003cp>“Our main goal is bringing bands and people to Oakland who have never played or been here,” says Scardino, who also plays in post-punk trio Ötzi and owns Near Dark Records and King Kog bike shop. Last year, she helped book the West Coast Women’s Darkwave Festival as well as the first edition of Near Dark. She says she’s proud to provide this rare opportunity to see international legends in Oakland’s own backyard.\u003c/p>\n\u003cfigure id=\"attachment_13840575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrenochrome, including Near Dark fest curators Gina Marie Scardino (on vocals) and Brianne Hanshaw (on drums) open the Near Dark festival on Sept. 13 at The Golden Bull. \u003ccite>(Matthe Kadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a conscious effort on Scardino and Hanshaw’s part to ensure that their festival is as inclusive as possible. The website and show flyers include clear statements against racist, sexist and transphobic behavior; all three show venues are wheelchair accessible; and band members reflect a plurality of identities and musical genres.\u003c/p>\n\u003cp>“It’s important to make sure there’s a place for marginalized people in any scene: queer people, women, people of color,” she says. “Considering the whole big picture when you put a show together is really important.” Scardino’s main regret? That she couldn’t find an all-ages venue for this year’s festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A touring musician herself, Scardino has played in dark music festivals elsewhere, including \u003ca href=\"http://www.sanlamuertefest.com/\" target=\"_blank\" rel=\"noopener\">San La Muerte Festival\u003c/a> in San Antonio, Texas. She figured the tight-knit community of darkwave and post-punk fans in Oakland would support a similar fest. Named after the nascent music label she founded in 2017, each evening of Near Dark is a miniature experiment in genre-blending, with several long-established headliners—including Los Angeles’ Kommunity FK celebrating their 40-year anniversary—supported by a constellation of more recent formations.\u003c/p>\n\u003cp>“Every lineup from start to finish is going to be mind-blowing,” promises Scardino. She admits to personal excitement over Friday’s headliner, Rubella Ballet, an anarcho-punk band from the U.K.\u003c/p>\n\u003cfigure id=\"attachment_13840574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-800x1006.jpg\" alt=\"\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-520x654.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotland’s Twisted Nerve make their first U.S. appearance at Oakland’s Near Dark festival on Sept. 15 at Eli’s Mile High Club. \u003ccite>(Sarah E. Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eschewing the drearier, gothic garb of their contemporaries, Rubella Ballet (currently anchored by Zillah Minx and Sid Truelove) have dressed up in shocking, Day-Glo colors since their inception in 1979, combining playful, tongue-in-cheek lyrics with relentless hooks, layered vocals and moshable energy. Near Dark Records’ co-release (with Portland label Last Hour) of their hard-to-find singles, \u003cem>Day Glo Daze\u003c/em>, will be available at the fest.\u003c/p>\n\u003cp>“They’ve been an inspiration to a lot of bands, but haven’t been here since the ’80s, so it’s really exciting that they’re coming,” says Scardino. “I can’t wait to meet them in person.”\u003c/p>\n\u003cp>Another legendary band slated to headline is equally old-school Twisted Nerve, a goth-punk quartet from Edinburgh formed in 1978. Involved in the original Batcave scene in 1980s London, they play their first and only U.S. show—ever—on the final night of the fest at Eli’s.\u003c/p>\n\u003cp>Another old-school band on the bill, the U.K.’s 13\u003csup>th\u003c/sup> Chime, will also play on Sept. 15. Their early-’80s, Joy Division-esque sound faded into a music-history footnote until recent reissues of their early recordings from the label Sacred Bones gave them new life.\u003c/p>\n\u003cp>Other notable international acts on the bill include queer female darkwave duo Diavol Strain from Chile and Fatamorgana from Barcelona, whose lead singer, Patrycja Aleksandra, met Scardino at San La Muerte festival in 2016.\u003c/p>\n\u003cfigure id=\"attachment_13840576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_Mati%CC%81Solemnis-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lau M and Ginger Blue of Chilean darkwave band, Diavol Strain, playing the Near Dark festival, Saturday, Sept 15, at Eli’s Mile High Club. \u003ccite>(Matí Solemnis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I hope that people will give them a chance, even if they’ve never heard them before,” Scardino enthuses. ‘They’re all so freaking good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Near Dark Festival takes place Sept. 13–15 in Oakland. Details \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's Experimental Hip-Hop Party Smart Bomb is Blowing Up",
"headTitle": "Oakland’s Experimental Hip-Hop Party Smart Bomb is Blowing Up | KQED",
"content": "\u003cp>It’s just after 11pm on a Saturday night in July, and bodies are spilling out of the second-floor venue of the Legionnaire Saloon in Oakland. It’s crowded. So crowded that finding a spot inside requires patience, fluidity and a string of “excuse me’s.”\u003c/p>\n\u003cp>The DJ, Threesixsashia, drops Deneice Williams’s airy, glittering ’70s R&B single “Free” into her set. There’s not much room to dance, but fervent nods and widely splayed smiles abound at volume 49 of the monthly beat showcase, \u003ca href=\"https://smartbomboakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>.\u003c/p>\n\u003cp>Saturday nights like these have been a regular occurrence since 2013 for the East Bay music and art collective behind the popular party, which spotlights mostly local producers and DJs with an ear for experimental jazz, hip-hop and electronic sounds.\u003c/p>\n\u003cp>“It’s kind of like church,” says co-founder Jason Garcia, who also performs as \u003ca href=\"https://soundcloud.com/asonic-garcia\" target=\"_blank\" rel=\"noopener\">Asonic\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/00CRvTo6F-Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born of the imaginations of avid record collectors and crate diggers, “beat music” is a cross-pollination of R&B, hip-hop, jazz and more obscure, cerebral genres like IDM, or intelligent dance music. This type of experimental beatmaking saw a more mainstream crossover when, picking up the baton from the cult producers like Dabrye and J Dilla, producer and head of \u003ca href=\"https://www.alphapuprecords.com/\" target=\"_blank\" rel=\"noopener\">Alpha Pup Records\u003c/a>, Daddy Kev, launched the party \u003ca href=\"http://www.lowendtheoryclub.com/\" target=\"_blank\" rel=\"noopener\">Low End Theory\u003c/a> in 2006. With Low End, Daddy Kev created a platform for influential artists like Flying Lotus, DJ Nobody, Nosaj Thing, Daedelus and Glitch Mob, and laid the groundwork for creating and fostering a community of artists who spun hip-hop into a patchwork of sputtering drums, psychedelic synthesizers and near-suffocating bass.\u003c/p>\n\u003cp>“Those cats inspired everyone,” says Smart Bomb member Andrew Johnson, who makes music as Drewmin. “Everyone tried to run around and do what they were doing.”\u003c/p>\n\u003cp>While Johnson saw the beauty in Low End, he didn’t want to just reproduce the L.A. party. Instead, he sought to give it a distinctly Bay Area spin. “It’s like when people talk about sampling Dilla: don’t bite that guy, do something crazy and new if you want to honor dude,” says Johnson.\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=2573862317/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>“The Bay Area has its own style,” says Garcia. “The headiest people could also be the hyphiest people. There’s a soulfulness that’s in everything, no matter what you do. You come up to the Bay for new ideas, so that’s what we’re trying to be, on the forefront of this type of music.”\u003c/p>\n\u003cp>In the beginning, it was hard to get promoters on board with the nebulous nature of Smart Bomb. “We started it out of sheer lack of any kind of consistent gathering for all the artists we hang around with,” Garcia says.\u003c/p>\n\u003cp>Smart Bomb found a home when Legionnaire owner Zack Turner was on the verge of opening his venue and looking to book local talent. The Irish pub and Smart Bomb volume one both debuted in March 2013.\u003c/p>\n\u003cp>“We were kind of on the fringe of everything,” Garcia says. For the first show, which starred his band Secret Sidewalk, whose music plays like a futurist dispatch of samples, synths and saxophones, he called up friends from different geographic and sonic pockets to assemble his “dream team” line-up: funk-oriented Oakland producer SpaceGhost, San Francisco’s Ruff Draft, Puzzle and Secret Sidewalk member Mike Boo.\u003c/p>\n\u003cp>“There was a wealth of talent in our community that never really had a place to shine before,” Garcia says. In the last five years, Smart Bomb has also booked talent from outside the Bay Area (previous names on the bill include introspective rapper/producer Quelle Chris, Watts-born beatmaker Dibia$e and Ras G, an Afrofuturist, free jazz-inspired producer and DJ out of Los Angeles) but their focus remains on Oakland talent, and people have taken notice.\u003c/p>\n\u003cp>https://youtu.be/PNi_ovN_3CQ\u003c/p>\n\u003cp>The collective is one of six DJ crews picked to play \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">Red Bull Music’s Oakland showcase\u003c/a> this on July 28. Alongside Club Chai, the B-Side Brujas, Another Party Fam, 45 Sessions and NVR OVR, Smart Bomb will round out a party intended to highlight the underground music scenes that make The Town was it is.\u003c/p>\n\u003cp>“As we [continue to] grow, it’s important to have a balance of shining light on new talent and exposing young people to the legends,” Garcia says. This balance of established local talent and up-and-comers, the crew envisions, is a chance to show greener artists the ropes.\u003c/p>\n\u003cp>“A lot of these young cats, they’re in their bedrooms being creative, they have amazing imaginations but they don’t know nothing about what kind of cables they need or what kind of plugs; they don’t know about how to hold the mic or what kind of mic to use; they don’t show up with anything,” Andrew explains. “It’s our responsibility to game them up.”\u003c/p>\n\u003cp>In that vein, Smart Bomb isn’t another party. It’s a space of discovery, for those on and off stage.\u003c/p>\n\u003cp>“I feel like this place has changed a lot of people’s lives, because it’s such a family oriented place,” says Cinque Mubarak, a photographer in Smart Bomb (the collective has expanded to include other types of artists who share their ethos of standing on the fringes). Before Smart Bomb, Mubarak says he was very reserved, but the monthly event opened up to him a community of artists.\u003c/p>\n\u003cp>“People grow here. They come every month and see familiar faces, especially people who have social anxiety,” Mubarak says. “I’ve seen them grow so much. If you want to be a wallflower, you can be a wallflower.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Smart Bomb crew performs at Red Bull Music’s Oakland showcase on July 28 at Geoffrey’s Inner Circle. Details \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s just after 11pm on a Saturday night in July, and bodies are spilling out of the second-floor venue of the Legionnaire Saloon in Oakland. It’s crowded. So crowded that finding a spot inside requires patience, fluidity and a string of “excuse me’s.”\u003c/p>\n\u003cp>The DJ, Threesixsashia, drops Deneice Williams’s airy, glittering ’70s R&B single “Free” into her set. There’s not much room to dance, but fervent nods and widely splayed smiles abound at volume 49 of the monthly beat showcase, \u003ca href=\"https://smartbomboakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>.\u003c/p>\n\u003cp>Saturday nights like these have been a regular occurrence since 2013 for the East Bay music and art collective behind the popular party, which spotlights mostly local producers and DJs with an ear for experimental jazz, hip-hop and electronic sounds.\u003c/p>\n\u003cp>“It’s kind of like church,” says co-founder Jason Garcia, who also performs as \u003ca href=\"https://soundcloud.com/asonic-garcia\" target=\"_blank\" rel=\"noopener\">Asonic\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/00CRvTo6F-Q'\n title='//www.youtube.com/embed/00CRvTo6F-Q'\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>Born of the imaginations of avid record collectors and crate diggers, “beat music” is a cross-pollination of R&B, hip-hop, jazz and more obscure, cerebral genres like IDM, or intelligent dance music. This type of experimental beatmaking saw a more mainstream crossover when, picking up the baton from the cult producers like Dabrye and J Dilla, producer and head of \u003ca href=\"https://www.alphapuprecords.com/\" target=\"_blank\" rel=\"noopener\">Alpha Pup Records\u003c/a>, Daddy Kev, launched the party \u003ca href=\"http://www.lowendtheoryclub.com/\" target=\"_blank\" rel=\"noopener\">Low End Theory\u003c/a> in 2006. With Low End, Daddy Kev created a platform for influential artists like Flying Lotus, DJ Nobody, Nosaj Thing, Daedelus and Glitch Mob, and laid the groundwork for creating and fostering a community of artists who spun hip-hop into a patchwork of sputtering drums, psychedelic synthesizers and near-suffocating bass.\u003c/p>\n\u003cp>“Those cats inspired everyone,” says Smart Bomb member Andrew Johnson, who makes music as Drewmin. “Everyone tried to run around and do what they were doing.”\u003c/p>\n\u003cp>While Johnson saw the beauty in Low End, he didn’t want to just reproduce the L.A. party. Instead, he sought to give it a distinctly Bay Area spin. “It’s like when people talk about sampling Dilla: don’t bite that guy, do something crazy and new if you want to honor dude,” says Johnson.\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=2573862317/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>“The Bay Area has its own style,” says Garcia. “The headiest people could also be the hyphiest people. There’s a soulfulness that’s in everything, no matter what you do. You come up to the Bay for new ideas, so that’s what we’re trying to be, on the forefront of this type of music.”\u003c/p>\n\u003cp>In the beginning, it was hard to get promoters on board with the nebulous nature of Smart Bomb. “We started it out of sheer lack of any kind of consistent gathering for all the artists we hang around with,” Garcia says.\u003c/p>\n\u003cp>Smart Bomb found a home when Legionnaire owner Zack Turner was on the verge of opening his venue and looking to book local talent. The Irish pub and Smart Bomb volume one both debuted in March 2013.\u003c/p>\n\u003cp>“We were kind of on the fringe of everything,” Garcia says. For the first show, which starred his band Secret Sidewalk, whose music plays like a futurist dispatch of samples, synths and saxophones, he called up friends from different geographic and sonic pockets to assemble his “dream team” line-up: funk-oriented Oakland producer SpaceGhost, San Francisco’s Ruff Draft, Puzzle and Secret Sidewalk member Mike Boo.\u003c/p>\n\u003cp>“There was a wealth of talent in our community that never really had a place to shine before,” Garcia says. In the last five years, Smart Bomb has also booked talent from outside the Bay Area (previous names on the bill include introspective rapper/producer Quelle Chris, Watts-born beatmaker Dibia$e and Ras G, an Afrofuturist, free jazz-inspired producer and DJ out of Los Angeles) but their focus remains on Oakland talent, and people have taken notice.\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/PNi_ovN_3CQ'\n title='//www.youtube.com/embed/PNi_ovN_3CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The collective is one of six DJ crews picked to play \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">Red Bull Music’s Oakland showcase\u003c/a> this on July 28. Alongside Club Chai, the B-Side Brujas, Another Party Fam, 45 Sessions and NVR OVR, Smart Bomb will round out a party intended to highlight the underground music scenes that make The Town was it is.\u003c/p>\n\u003cp>“As we [continue to] grow, it’s important to have a balance of shining light on new talent and exposing young people to the legends,” Garcia says. This balance of established local talent and up-and-comers, the crew envisions, is a chance to show greener artists the ropes.\u003c/p>\n\u003cp>“A lot of these young cats, they’re in their bedrooms being creative, they have amazing imaginations but they don’t know nothing about what kind of cables they need or what kind of plugs; they don’t know about how to hold the mic or what kind of mic to use; they don’t show up with anything,” Andrew explains. “It’s our responsibility to game them up.”\u003c/p>\n\u003cp>In that vein, Smart Bomb isn’t another party. It’s a space of discovery, for those on and off stage.\u003c/p>\n\u003cp>“I feel like this place has changed a lot of people’s lives, because it’s such a family oriented place,” says Cinque Mubarak, a photographer in Smart Bomb (the collective has expanded to include other types of artists who share their ethos of standing on the fringes). Before Smart Bomb, Mubarak says he was very reserved, but the monthly event opened up to him a community of artists.\u003c/p>\n\u003cp>“People grow here. They come every month and see familiar faces, especially people who have social anxiety,” Mubarak says. “I’ve seen them grow so much. If you want to be a wallflower, you can be a wallflower.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Smart Bomb crew performs at Red Bull Music’s Oakland showcase on July 28 at Geoffrey’s Inner Circle. Details \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Archivist-Electronic Musician Cruel Diagonals Embraces Curiosity",
"headTitle": "Archivist-Electronic Musician Cruel Diagonals Embraces Curiosity | KQED",
"content": "\u003cp>In terms of formal job training, Megan Mitchell is a librarian. Specifically, she’s an archivist who got her master’s degree in library and information science from University of Washington last year, with a specific interest in sonic collections and found recordings. But Mitchell is also a singer, composer, DJ and \u003ca href=\"https://medium.com/@immaculatedegenerate/accountability-and-community-in-electronic-music-toward-an-anti-oppression-framework-db7a5fc8b42e\" target=\"_blank\" rel=\"noopener\">essayist\u003c/a>. Her different creative practices combine into a process that informs her projects in many fields at once.\u003c/p>\n\u003cp>“The common thread, it’s always been music,” says Mitchell in an interview at a favored Oakland tea house of hers. “There’s also a common thread of social justice, and my interest in research and representation, and undoing very heteronormative, colonized, white supremacist ideologies that are pervasive in research, in music, industries, communities.”\u003c/p>\n\u003cp>These threads influence how Mitchell approaches her archival work; her previous gig assisting prolific indie and metal producer Randall Dunn in Seattle; and her ongoing curation of \u003ca href=\"https://manymanywomen.com/\" target=\"_blank\" rel=\"noopener\">Many Many Women\u003c/a>, a site dedicated to women and non-binary artists working in experimental music. She also organizes workshops and events featuring noted avant-garde figures like the late Pauline Oliveros.\u003c/p>\n\u003cp>“I think what ends up happening is that all those things end up informing my creative process, as well,” Mitchell observes, “It’s just my brain making different outbursts at various junctures on things that I’m interested in.”\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=2876764174/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>\u003cbr>\n\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mitchell’s next step on the musical front is the July 13 release of her debut album under the name \u003ca href=\"https://crueldiagonals.bandcamp.com/album/disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>. Titled \u003cem>Disambiguation\u003c/em>—a library term referring to an expansion of a search process for wider overall results—it’s a remarkable first release, easily crossing boundaries between ambient electronic explorations and avant-garde vocal approaches.\u003c/p>\n\u003cp>“I think a lot of what I do vocally is in direct resistance to what I was trained on, because I am always concerned with being too pretty with my voice,” she explains.\u003c/p>\n\u003cp>Yet \u003cem>Disambiguation\u003c/em> never feels daunting—instead, it’s an album that makes one want to lean in and listen more closely to catch every detail. From its quietly tense opener, “Innate Abstraction,” through the slow-burn drama of the concluding “Intent to Vacate,” Mitchell creates an involved 45-minute experience.\u003c/p>\n\u003cfigure id=\"attachment_13837058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/cd4-800x1067.jpg\" alt=\"Cruel Diagonals' debut album, 'Disambiguation,' comes out July 13. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruel Diagonals’ debut album, ‘Disambiguation,’ comes out July 13. \u003ccite>(Ned Raggett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not goth per se, but \u003cem>Disambiguation\u003c/em> is not that far removed in terms of sonic qualities and emotional impact: Mitchell’s vocals can be coolly keening or warmly entrancing, changing like a series of dramatic roles. Dark, electronic swells of sound, subtle and soft melodies, murmuring beats and glitchy rhythms ebb and flow throughout. To say that it all reflects Mitchell’s research interests isn’t a stretch: \u003cem>Disambiguation\u003c/em> suggests shadowy spaces of secret knowledge brought into the light, a kind of living catalog of sound filtered through an artist’s particular perspective.\u003c/p>\n\u003cp>Mitchell says that her occasional DJ work under the name DJ Degenerate is to thank for \u003cem>Disambiguation\u003c/em>’s sense of flow. “I wanted the album to reflect the tension and release, the quiet moments, and inserting an unexpected element,” she says. “And disrupting that as well—kind of disrupting the flow in a way that is somewhat jarring. You didn’t expect certain elements, but it makes sense once you look at it broadly.”\u003c/p>\n\u003cp>Just as Mitchell’s work traverses different disciplines, the artist herself doesn’t quite feel at home in one particular scene; her upcoming release shows for \u003cem>Disambiguation\u003c/em> take place in a bookstore and an art gallery (Adobe Books and Luggage Store).\u003c/p>\n\u003cp>“I think that’s kind of a good description of me in any community that I partake in: I’m just a weird fit,” she says. And I’m fine with that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Cruel Diagonals performs July 19 at \u003c/i>\u003ca href=\"http://www.luggagestoregallery.org/\">\u003ci>Luggage Story Gallery\u003c/i>\u003c/a> \u003cem>in San Francisco and July 20 at\u003c/em> \u003ca href=\"http://www.adobebooks.com/events/2018/7/20/live-music-cruel-diagonals-record-release-fyrhtu\">\u003ci>Adobe Books & Arts Cooperative\u003c/i>\u003c/a>\u003cem>, also in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In terms of formal job training, Megan Mitchell is a librarian. Specifically, she’s an archivist who got her master’s degree in library and information science from University of Washington last year, with a specific interest in sonic collections and found recordings. But Mitchell is also a singer, composer, DJ and \u003ca href=\"https://medium.com/@immaculatedegenerate/accountability-and-community-in-electronic-music-toward-an-anti-oppression-framework-db7a5fc8b42e\" target=\"_blank\" rel=\"noopener\">essayist\u003c/a>. Her different creative practices combine into a process that informs her projects in many fields at once.\u003c/p>\n\u003cp>“The common thread, it’s always been music,” says Mitchell in an interview at a favored Oakland tea house of hers. “There’s also a common thread of social justice, and my interest in research and representation, and undoing very heteronormative, colonized, white supremacist ideologies that are pervasive in research, in music, industries, communities.”\u003c/p>\n\u003cp>These threads influence how Mitchell approaches her archival work; her previous gig assisting prolific indie and metal producer Randall Dunn in Seattle; and her ongoing curation of \u003ca href=\"https://manymanywomen.com/\" target=\"_blank\" rel=\"noopener\">Many Many Women\u003c/a>, a site dedicated to women and non-binary artists working in experimental music. She also organizes workshops and events featuring noted avant-garde figures like the late Pauline Oliveros.\u003c/p>\n\u003cp>“I think what ends up happening is that all those things end up informing my creative process, as well,” Mitchell observes, “It’s just my brain making different outbursts at various junctures on things that I’m interested in.”\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=2876764174/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>\u003cbr>\n\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mitchell’s next step on the musical front is the July 13 release of her debut album under the name \u003ca href=\"https://crueldiagonals.bandcamp.com/album/disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>. Titled \u003cem>Disambiguation\u003c/em>—a library term referring to an expansion of a search process for wider overall results—it’s a remarkable first release, easily crossing boundaries between ambient electronic explorations and avant-garde vocal approaches.\u003c/p>\n\u003cp>“I think a lot of what I do vocally is in direct resistance to what I was trained on, because I am always concerned with being too pretty with my voice,” she explains.\u003c/p>\n\u003cp>Yet \u003cem>Disambiguation\u003c/em> never feels daunting—instead, it’s an album that makes one want to lean in and listen more closely to catch every detail. From its quietly tense opener, “Innate Abstraction,” through the slow-burn drama of the concluding “Intent to Vacate,” Mitchell creates an involved 45-minute experience.\u003c/p>\n\u003cfigure id=\"attachment_13837058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/cd4-800x1067.jpg\" alt=\"Cruel Diagonals' debut album, 'Disambiguation,' comes out July 13. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruel Diagonals’ debut album, ‘Disambiguation,’ comes out July 13. \u003ccite>(Ned Raggett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not goth per se, but \u003cem>Disambiguation\u003c/em> is not that far removed in terms of sonic qualities and emotional impact: Mitchell’s vocals can be coolly keening or warmly entrancing, changing like a series of dramatic roles. Dark, electronic swells of sound, subtle and soft melodies, murmuring beats and glitchy rhythms ebb and flow throughout. To say that it all reflects Mitchell’s research interests isn’t a stretch: \u003cem>Disambiguation\u003c/em> suggests shadowy spaces of secret knowledge brought into the light, a kind of living catalog of sound filtered through an artist’s particular perspective.\u003c/p>\n\u003cp>Mitchell says that her occasional DJ work under the name DJ Degenerate is to thank for \u003cem>Disambiguation\u003c/em>’s sense of flow. “I wanted the album to reflect the tension and release, the quiet moments, and inserting an unexpected element,” she says. “And disrupting that as well—kind of disrupting the flow in a way that is somewhat jarring. You didn’t expect certain elements, but it makes sense once you look at it broadly.”\u003c/p>\n\u003cp>Just as Mitchell’s work traverses different disciplines, the artist herself doesn’t quite feel at home in one particular scene; her upcoming release shows for \u003cem>Disambiguation\u003c/em> take place in a bookstore and an art gallery (Adobe Books and Luggage Store).\u003c/p>\n\u003cp>“I think that’s kind of a good description of me in any community that I partake in: I’m just a weird fit,” she says. And I’m fine with that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Cruel Diagonals performs July 19 at \u003c/i>\u003ca href=\"http://www.luggagestoregallery.org/\">\u003ci>Luggage Story Gallery\u003c/i>\u003c/a> \u003cem>in San Francisco and July 20 at\u003c/em> \u003ca href=\"http://www.adobebooks.com/events/2018/7/20/live-music-cruel-diagonals-record-release-fyrhtu\">\u003ci>Adobe Books & Arts Cooperative\u003c/i>\u003c/a>\u003cem>, also in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, I’m joined on The Do List by Jamedra Brown-Fleischman, co-host of KQED’s pop culture podcast \u003cem>The Cooler\u003c/em>. We’re talking about Nazis influencing famous painters, the challenge in satirizing American politics, and a wild plot to catch a serial killer.\u003c/p>\n\u003cp>\u003cstrong>Through Oct. 28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833315/sfmoma-shows-the-vache-side-of-magritte\" target=\"_blank\" rel=\"noopener\">\u003cem>René Magritte: The Fifth Season\u003c/em> includes the artist’s intentionally “bad” paintings at SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 24-27\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833330/a-bizarre-plot-to-catch-the-real-life-zodiac-killer\" target=\"_blank\" rel=\"noopener\">\u003cem>Please help me I’m drownding\u003c/em>: San Francisco’s dark decade comes to life in a film series at the Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833337/who-needs-vjs-with-the-outoffocus-video-music-fest\" target=\"_blank\" rel=\"noopener\">The fourth annual OutOfFocus Music Video Film Fest at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 31-June 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit\" target=\"_blank\" rel=\"noopener\">Sheer Mag rocks the Ritz in San Jose and the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 1-3\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833278/a-hotly-anticipated-return-for-jon-stewart\" target=\"_blank\" rel=\"noopener\">Clusterfest in San Francisco’s Civic Center brings top stars in comedy, music, podcasting, drag and more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 1-10\u003c/strong>: \u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">The Healdsburg Jazz Festival hosts big names at small venues\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 9\u003c/strong>: \u003ca href=\"http://thefoxoakland.com/events/the-read\" target=\"_blank\" rel=\"noopener\">\u003ci>The Read Live!\u003c/i> with Kid Fury and Crissle at Oakland’s Fox Theater\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833271/flying-lotus-and-little-dragon-will-trip-out-in-berkeley\" target=\"_blank\" rel=\"noopener\">Flying Lotus returns to the Greek Theater in Berkeley\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, I’m joined on The Do List by Jamedra Brown-Fleischman, co-host of KQED’s pop culture podcast \u003cem>The Cooler\u003c/em>. We’re talking about Nazis influencing famous painters, the challenge in satirizing American politics, and a wild plot to catch a serial killer.\u003c/p>\n\u003cp>\u003cstrong>Through Oct. 28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833315/sfmoma-shows-the-vache-side-of-magritte\" target=\"_blank\" rel=\"noopener\">\u003cem>René Magritte: The Fifth Season\u003c/em> includes the artist’s intentionally “bad” paintings at SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 24-27\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833330/a-bizarre-plot-to-catch-the-real-life-zodiac-killer\" target=\"_blank\" rel=\"noopener\">\u003cem>Please help me I’m drownding\u003c/em>: San Francisco’s dark decade comes to life in a film series at the Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833337/who-needs-vjs-with-the-outoffocus-video-music-fest\" target=\"_blank\" rel=\"noopener\">The fourth annual OutOfFocus Music Video Film Fest at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 31-June 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit\" target=\"_blank\" rel=\"noopener\">Sheer Mag rocks the Ritz in San Jose and the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\u003c/p>\n\u003cp>https://youtu.be/_ovdm2yX4MA\u003c/p>\n\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\n\u003cp>https://twitter.com/aloeblacc/status/987394281303302144\u003c/p>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\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/_ovdm2yX4MA'\n title='//www.youtube.com/embed/_ovdm2yX4MA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
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