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"title": "Sonny Smith’s New Indie Label Spotlights ‘Weird Stuff’ of San Francisco",
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"content": "\u003cp>\u003ca href=\"http://rockshead.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a> has been making music in some of the stranger pockets of San Francisco for close to two decades. After watching the Bay Area transform from a haven for the weird into something more sterile, expensive and exclusive, Smith decided to step up and create a platform that brings the city back to its fringe-loving roots. On April 1, he’ll debut his new record label, \u003ca href=\"https://rockshead.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Rocks in Your Head Records\u003c/a>, with the release of his band Sonny & the Sunsets’ seventh album, \u003cem>Hairdressers from Heaven\u003c/em>.\u003c/p>\n\u003cp>“Ultimately my vision is larger than a label,” says Smith. “It’s more like Motown, for that matter. I want to have a building that handles the production of the actual music, \u003cem>and\u003c/em> the production of the records, \u003cem>and\u003c/em> the distribution, \u003cem>and\u003c/em> the publicity, \u003cem>and\u003c/em> a festival all coming out from one physical center.”\u003c/p>\n\u003cfigure id=\"attachment_13853867\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg\" alt=\"Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival.\" width=\"387\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head-160x212.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival. \u003ccite>(Sarah Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is a dreamer with lofty goals. He and his music seem to only half-occupy our world, with the other half floating around in some far-out fantasy. Much of his songwriting hinges on narrative, and tells the kind of stories you’d come up with as a stoned teenager, giggling with your friends on a Saturday afternoon, utterly unfazed by reality and its preposterous “rules.”\u003c/p>\n\u003cp>Smith sings, sweet and anodyne, about \u003ca href=\"https://www.youtube.com/watch?v=P_zh6TGitro\" target=\"_blank\" rel=\"noopener\">planets ruled entirely by women\u003c/a>, discovering mysterious tubes of “\u003ca href=\"https://www.youtube.com/watch?v=mVv1EQG5IbM\" target=\"_blank\" rel=\"noopener\">Death Cream\u003c/a>” in his car and communing with the dead via seance. His sound samples elements of surf and garage rock, as well as the psychedelic folk revival of the late 1960s and early ’70s. \u003cem>Hairdressers from Heaven\u003c/em>, an album perfect for a laid-back drive down the coast, harks back to an earlier iteration of the Bay Area, when a one-bedroom apartment in San Francisco didn’t cost over $3,600 a month.\u003c/p>\n\u003cp>Since the mid-’90s, Smith has seen the local scene struggle to maintain its footing as the cost of living rises. “There was a pretty big punk scene when I got here, lots of socially conscious stuff too,” he says. “It’s like we were carrying the torch of the Dead Kennedys into the ’90s.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Then, when the first dot-com era happened around 2000, it busted up the music scene pretty bad,” he continues. “There was an exodus to Portland. Then things settled. … There was a healthy wave of creativity, but fast forward to, like, ’12 or ’13 when the next big tech thing comes, and San Francisco took another hit.”\u003c/p>\n\u003cp>While it’s easy for an independent artist to become cynical in this climate, Smith remains inspired. The idea for Rocks in Your Head came after Smith started noticing an increase in new bands forming in San Francisco. “A lot of people were pushed out of the Mission because it got so expensive, but I’m finding a lot of great musicians out in the Sunset and the Richmond right now,” he says. “From my vantage point, there is this little underground scene growing out there.”\u003c/p>\n\u003cp>https://youtu.be/C0mZL378a7w\u003c/p>\n\u003cp>The goal of Rocks in your head is to showcase and support what San Francisco’s underground has to offer, and to hopefully fortify it against whatever new changes are coming down the line. This region-specific focus will be on full display in the label’s second release, a compilation titled \u003cem>Hot Sick Vile and Fun\u003c/em>. Working with a roster of local bands, Smith recorded and produced each song in his home studio over a period of just a few months.\u003c/p>\n\u003cp>The album has 16 tracks and is comprised of, in Smith’s words, “all the weird stuff I could find.” There’s bands featured like \u003ca href=\"https://undercity.bandcamp.com/track/the-gonks\" target=\"_blank\" rel=\"noopener\">the Gonks\u003c/a>, who have a psychedelic, art-rock sound; \u003ca href=\"https://discontinuousinnovationinc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toyota\u003c/a>, a zany post-punk outfit that Smith describes as a bit “Zappa-ish”; and \u003ca href=\"https://galoresf.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Galore\u003c/a>, who play music fit for what one could describe as a haunted beach party. The project is due out in late July.\u003c/p>\n\u003cp>Smith isn’t alone in his hope for a revitalized music ecosystem in the Bay Area. Earlier this year, he launched an \u003ca href=\"https://www.indiegogo.com/projects/rocks-in-your-head-records#/\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $15,000 to fund his label’s first year, and came up with nearly $20,000. The campaign’s success is indicative of a hole left in San Francisco in the wake of an exodus of priced-out creatives. Those of us who remain are hungry to build, to hear something new.\u003c/p>\n\u003cp>“I certainly hope I’m not the only one who wants to hear what my home has to offer,” says Smith.\u003c/p>\n\u003cp>Looking even further down the road, Smith has high hopes for Rocks In Your Head. The label’s music festival is slated for July and will showcase the artists on the compilation. Creating a new platform for independent and experimental music is a risky proposition in this economy, but Smith speaks of dreams as large as the ones in his songs.\u003c/p>\n\u003cp>He’s secured his distribution through the company Revolver, built out his studio and is using his reputation as a local indie rock mainstay to build out a stable of impressive up-and-comers. Bay Area artists have taken their fair share of hits over the past 20-odd years, and something organic like Rocks in your Head, funded in part by its local community, promises more security moving forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audibly excited, Smith says, “It’s almost bigger than I can comprehend at the moment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://rockshead.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a> has been making music in some of the stranger pockets of San Francisco for close to two decades. After watching the Bay Area transform from a haven for the weird into something more sterile, expensive and exclusive, Smith decided to step up and create a platform that brings the city back to its fringe-loving roots. On April 1, he’ll debut his new record label, \u003ca href=\"https://rockshead.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Rocks in Your Head Records\u003c/a>, with the release of his band Sonny & the Sunsets’ seventh album, \u003cem>Hairdressers from Heaven\u003c/em>.\u003c/p>\n\u003cp>“Ultimately my vision is larger than a label,” says Smith. “It’s more like Motown, for that matter. I want to have a building that handles the production of the actual music, \u003cem>and\u003c/em> the production of the records, \u003cem>and\u003c/em> the distribution, \u003cem>and\u003c/em> the publicity, \u003cem>and\u003c/em> a festival all coming out from one physical center.”\u003c/p>\n\u003cfigure id=\"attachment_13853867\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg\" alt=\"Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival.\" width=\"387\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head-160x212.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival. \u003ccite>(Sarah Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is a dreamer with lofty goals. He and his music seem to only half-occupy our world, with the other half floating around in some far-out fantasy. Much of his songwriting hinges on narrative, and tells the kind of stories you’d come up with as a stoned teenager, giggling with your friends on a Saturday afternoon, utterly unfazed by reality and its preposterous “rules.”\u003c/p>\n\u003cp>Smith sings, sweet and anodyne, about \u003ca href=\"https://www.youtube.com/watch?v=P_zh6TGitro\" target=\"_blank\" rel=\"noopener\">planets ruled entirely by women\u003c/a>, discovering mysterious tubes of “\u003ca href=\"https://www.youtube.com/watch?v=mVv1EQG5IbM\" target=\"_blank\" rel=\"noopener\">Death Cream\u003c/a>” in his car and communing with the dead via seance. His sound samples elements of surf and garage rock, as well as the psychedelic folk revival of the late 1960s and early ’70s. \u003cem>Hairdressers from Heaven\u003c/em>, an album perfect for a laid-back drive down the coast, harks back to an earlier iteration of the Bay Area, when a one-bedroom apartment in San Francisco didn’t cost over $3,600 a month.\u003c/p>\n\u003cp>Since the mid-’90s, Smith has seen the local scene struggle to maintain its footing as the cost of living rises. “There was a pretty big punk scene when I got here, lots of socially conscious stuff too,” he says. “It’s like we were carrying the torch of the Dead Kennedys into the ’90s.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Then, when the first dot-com era happened around 2000, it busted up the music scene pretty bad,” he continues. “There was an exodus to Portland. Then things settled. … There was a healthy wave of creativity, but fast forward to, like, ’12 or ’13 when the next big tech thing comes, and San Francisco took another hit.”\u003c/p>\n\u003cp>While it’s easy for an independent artist to become cynical in this climate, Smith remains inspired. The idea for Rocks in Your Head came after Smith started noticing an increase in new bands forming in San Francisco. “A lot of people were pushed out of the Mission because it got so expensive, but I’m finding a lot of great musicians out in the Sunset and the Richmond right now,” he says. “From my vantage point, there is this little underground scene growing out there.”\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/C0mZL378a7w'\n title='//www.youtube.com/embed/C0mZL378a7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The goal of Rocks in your head is to showcase and support what San Francisco’s underground has to offer, and to hopefully fortify it against whatever new changes are coming down the line. This region-specific focus will be on full display in the label’s second release, a compilation titled \u003cem>Hot Sick Vile and Fun\u003c/em>. Working with a roster of local bands, Smith recorded and produced each song in his home studio over a period of just a few months.\u003c/p>\n\u003cp>The album has 16 tracks and is comprised of, in Smith’s words, “all the weird stuff I could find.” There’s bands featured like \u003ca href=\"https://undercity.bandcamp.com/track/the-gonks\" target=\"_blank\" rel=\"noopener\">the Gonks\u003c/a>, who have a psychedelic, art-rock sound; \u003ca href=\"https://discontinuousinnovationinc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toyota\u003c/a>, a zany post-punk outfit that Smith describes as a bit “Zappa-ish”; and \u003ca href=\"https://galoresf.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Galore\u003c/a>, who play music fit for what one could describe as a haunted beach party. The project is due out in late July.\u003c/p>\n\u003cp>Smith isn’t alone in his hope for a revitalized music ecosystem in the Bay Area. Earlier this year, he launched an \u003ca href=\"https://www.indiegogo.com/projects/rocks-in-your-head-records#/\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $15,000 to fund his label’s first year, and came up with nearly $20,000. The campaign’s success is indicative of a hole left in San Francisco in the wake of an exodus of priced-out creatives. Those of us who remain are hungry to build, to hear something new.\u003c/p>\n\u003cp>“I certainly hope I’m not the only one who wants to hear what my home has to offer,” says Smith.\u003c/p>\n\u003cp>Looking even further down the road, Smith has high hopes for Rocks In Your Head. The label’s music festival is slated for July and will showcase the artists on the compilation. Creating a new platform for independent and experimental music is a risky proposition in this economy, but Smith speaks of dreams as large as the ones in his songs.\u003c/p>\n\u003cp>He’s secured his distribution through the company Revolver, built out his studio and is using his reputation as a local indie rock mainstay to build out a stable of impressive up-and-comers. Bay Area artists have taken their fair share of hits over the past 20-odd years, and something organic like Rocks in your Head, funded in part by its local community, promises more security moving forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audibly excited, Smith says, “It’s almost bigger than I can comprehend at the moment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland’s Club Night Celebrate Debut Album With Free Bandcamp Show",
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"content": "\u003cp>Bandcamp, the popular music streaming and merchandise platform, in February \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">opened an office\u003c/a> in downtown Oakland. Considered an artist-friendly alternative, or at least supplement, to streaming services such as Spotify, it’s the city’s highest-profile music industry arrival in recent memory. Attached to the office is a record shop lodged within a small concert venue. \u003c/p>\n\u003cp>The third installment of “Bandcamp Presents,” a free monthly show series, features Oakland five-piece Club Night. The group has a restless, springy energy reminiscent of the chiming effervescence of 2000s indie-rock: zigzagging melodies, stardust keys and, from front-person Joshua Bertram, an ecstatic yawp. Club Night emerged with a cassette in 2017, and their Bandcamp show Friday, Apr. 5 marks the release of debut album \u003cem>What Life\u003c/em> on Tiny Engines. \u003c/p>\n\u003cp>Locally, Club Night have a unique profile: Their sound is not one that’s particularly associated with Oakland, but they have close ties to the DIY scene. Without much label machinery, they’ve also earned note in many of the \u003ca href=\"https://pitchfork.com/reviews/tracks/club-night-rally/\">national\u003c/a> \u003ca href=\"https://www.thefader.com/2019/03/26/hear-riotous-unclassifiable-oakland-band-club-nights-new-song-path\">music\u003c/a> \u003ca href=\"https://www.stereogum.com/2019687/club-night-mute-trance-what-life/franchises/interview/\">publications\u003c/a> that habitually overlook the Bay Area. Perhaps most surprisingly, Club Night’s buzz has not whisked them to Los Angeles. But in a new alignment, the group’s apparently preferred streaming platform is now based in Oakland. \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=2125746308/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bandcamp, the popular music streaming and merchandise platform, in February \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">opened an office\u003c/a> in downtown Oakland. Considered an artist-friendly alternative, or at least supplement, to streaming services such as Spotify, it’s the city’s highest-profile music industry arrival in recent memory. Attached to the office is a record shop lodged within a small concert venue. \u003c/p>\n\u003cp>The third installment of “Bandcamp Presents,” a free monthly show series, features Oakland five-piece Club Night. The group has a restless, springy energy reminiscent of the chiming effervescence of 2000s indie-rock: zigzagging melodies, stardust keys and, from front-person Joshua Bertram, an ecstatic yawp. Club Night emerged with a cassette in 2017, and their Bandcamp show Friday, Apr. 5 marks the release of debut album \u003cem>What Life\u003c/em> on Tiny Engines. \u003c/p>\n\u003cp>Locally, Club Night have a unique profile: Their sound is not one that’s particularly associated with Oakland, but they have close ties to the DIY scene. Without much label machinery, they’ve also earned note in many of the \u003ca href=\"https://pitchfork.com/reviews/tracks/club-night-rally/\">national\u003c/a> \u003ca href=\"https://www.thefader.com/2019/03/26/hear-riotous-unclassifiable-oakland-band-club-nights-new-song-path\">music\u003c/a> \u003ca href=\"https://www.stereogum.com/2019687/club-night-mute-trance-what-life/franchises/interview/\">publications\u003c/a> that habitually overlook the Bay Area. Perhaps most surprisingly, Club Night’s buzz has not whisked them to Los Angeles. But in a new alignment, the group’s apparently preferred streaming platform is now based in Oakland. \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=2125746308/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "10 Bay Area Artists Not to Miss at Noise Pop 2019",
"headTitle": "10 Bay Area Artists Not to Miss at Noise Pop 2019 | KQED",
"content": "\u003cp>\u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has been around since 1993, when the festival debuted as a $5 indie rock show at the Kennel Club (now the Independent). These days, the week-long, homegrown music showcase features dozens of artists working in a variety of genres, including rap, pop and electronic, and takes place at various venues on both sides of the Bay.\u003c/p>\n\u003cp>The festival kicks off on Feb. 25 and goes through March 3, with multiple shows happening each night. Beyond well-known acts like Beirut, Princess Nokia, Bob Mould and Yuna, we’ve rounded up 10 stellar Bay Area artists not to miss this year.\u003c/p>\n\u003ch2>Pllush\u003c/h2>\n\u003cp>Performing with Miserable, Same Girls and Super Unison.\u003cbr>\n\u003cstrong>Feb. 26, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9866\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3503424820/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>Pllush emerged from the same fertile indie rock scene that produced standout Bay Area bands like Jay Som and Pardoner. Their 2018 album, \u003cem>Stranger to the Pain \u003c/em>(Father/Daughter Records), moves seamlessly from punchy garage-pop jam “Ortega” to gauzy shoegaze track “Big Train” and downcast post-punk meditation “Restart.” With lyrics about love and heartbreak, delicate harmonies that hit during maximal emotional catharsis and gritty instrumentation worthy of a mosh pit, Pllush’s unpolished, earnest approach has rendered them a band to watch this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Wizard Apprentice\u003c/h2>\n\u003cp>Performing with Baths, Briana Marela and There’s Talk.\u003cbr>\n\u003cstrong>Feb. 27, Great American Music Hall. Details \u003ca href=\"https://www.eventbrite.com/e/baths-gamh-w-briana-marela-wizard-apprentice-theres-talk-noise-pop-festival-2019-presents-tickets-51730251575?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=2838511816/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>You know all the embarrassing feelings of jealousy, insecurity and self-doubt that usually stay between you and your diary or therapist? Wizard Apprentice brings them into the light where listeners can acknowledge them, observe them and then finally let them go. The artist’s 2018 album, \u003cem>I Am Invisible \u003c/em>(Ratskin Records), is a collection of bedroom electronic tracks that are compositionally sparse, yet incredibly rich in their storytelling. Wizard Apprentice’s tracks drop all pretenses and cut straight to the heart of heavy emotional processing.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Rose Droll\u003c/h2>\n\u003cp>Performing with Caroline Rose and Superet.\u003cbr>\n\u003cstrong>Feb. 28, The Independent. Details \u003ca href=\"http://www.ticketfly.com/event/1779484-caroline-rose-san-francisco/?utm_medium=1098158\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=1784071394/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>Versatile multi-instrumentalist Rose Droll can do a lot with a little, as evinced by her 2018 album \u003cem>Your Dog\u003c/em> (Father/Daughter Records). She mostly composed it in her room on acoustic guitar (and later added piano, glockenspiel and cello in the studio), and cobbled together a unique style of beat-driven folk instrumentation and throaty singing that often lapses into spoken word. \u003cem>Your Dog \u003c/em>made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2018\u003c/a> list on the strength of its inventive approach.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>vverewolf\u003c/h2>\n\u003cp>Performing with Uffie, MPHD and Starfari.\u003cbr>\n\u003cstrong>March 1, The Independent. Details \u003ca href=\"https://www.eventbrite.com/e/uffie-mphd-starfari-vverevvolf-the-independent-tickets-52228742575\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3859730063/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>Oakland pop duo vverewolf sound like they were raised on a diet of sugary cereal and Kesha, and they proudly rep their love for bubblegum pop in their work. The sparkling, synth-heavy tracks on their latest EP, \u003cem>Ugh!\u003c/em>, feel like injections of Unicorn Frappuccino straight into the blood stream. Still, there’s an emotional poignancy beneath the saccharine surface, especially on “The Other Side,” a frank, confessional track about depression and substance abuse.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Tia Nomore and Queens D.Light\u003c/h2>\n\u003cp>Performing with Princess Nokia.\u003cbr>\n\u003cstrong>March 2, UC Theatre. Details \u003ca href=\"https://www.ticketfly.com/purchase/event/1795573?utm_medium=1098158&q=cdfa5d18-d78e-4f86-8a80-9f99f7beef2e&p=ac6989c9-999f-49f7-895a-3a9e69985752&ts=1550790229&c=ticketfly&e=003355a&rt=Safetynet&h=94bc9b93f5f0b0cbdcccdd0190fa127a\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=1286267833/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=547962662/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\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=2150569020/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>Tia NoMore and Queens D.Light are two of the most dynamic voices in the Bay Area rap scene, and they couldn’t be more different. Queens’ dreamy meditations on sex and spirituality are what you want to bump when you’re lighting incense and painting or reading in your room (the perfect vibe for Pisces season, which is now upon us). Tia Nomore, on the other hand, delivers fiery tomboy raps in English and sometimes Japanese, and her penchant for beats with heavy slap recall the likes of Bay Area staples like Mac Dre and Mac Mall.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Lara Sarkissian\u003c/h2>\n\u003cp>Performing with Yves Tumor and Watkins/Peacock.\u003cbr>\n\u003cstrong>March 2, The Chapel. Details \u003ca href=\"https://www.eventbrite.com/e/yves-tumor-lara-sarkissian-watkinspeacock-the-chapel-tickets-52417835156\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=1895085439/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>Lara Sarkissian is one half of Club Chai, the forward-thinking Oakland party and label that carved out a lane for experimental club music that caters to people who are queer, trans, immigrant, of color—or just appreciate beats that defy genres and borders. On her latest EP, \u003cem>Disruption\u003c/em>, Sarkissian draws from Armenian mythology, transporting it thousands of years into the future through heavily percussive tracks abuzz with textured synths.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Trebuchet\u003c/h2>\n\u003cp>Performing with Ben Morrison of the Brothers Comatose, Andrew St. James and Television Spies.\u003cbr>\n\u003cstrong>March 2, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9868\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=49318725/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>Who but Trebuchet’s Elliott Whitehurst could write a fluttering, ethereal folk album about calling off his wedding the night before it was supposed to happen? Throughout Trebuchet’s \u003cem>Volte-Face \u003c/em>(which made our\u003cem> \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2017\u003c/a> list), Whitehurst meditates on a love that he “watched over-ripen” and ultimately chooses to walk away instead of living to please someone else. The resulting record makes poetry from a convoluted situation, with harmonies and string arrangements galore. (However, I’m still waiting for his ex’s version of \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>FR333\u003c/h2>\n\u003cp>Performing with Crumb, Video Age and Idhaz & Rose Cherami.\u003cbr>\n\u003cstrong>March 2, Starline Social Club. Details \u003ca href=\"https://www.eventbrite.com/e/sold-out-crumb-video-age-idhaz-rose-cherami-fr333-starline-social-club-tickets-53612898623?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3024213588/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>Oakland hip-hop duo FR333’s live shows might start with some ritualistic sage burning and end in a twerk-off, but the core of the performance is always about getting in touch with one’s inner confidence. Raw, vulnerable and sexy, FR333’s work empowers and inspires by looking inward and excavating the emotional depths of spiritual growth and sexuality. Vocalist MADlines (who recently wrote a KQED Arts \u003ca href=\"https://www.kqed.org/arts/13850633/breaking-free-from-toxic-love-madlines-story\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> about self-love and leaving a toxic relationship) captivates with evocative metaphors and raspy inflections, while producer and multi-instrumentalist XOA’s intricate beatmaking creates a luxurious, velvety backdrop.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>The Total Bettys\u003c/h2>\n\u003cp>Performing with Partner, Dude York and Blushh.\u003cbr>\n\u003cstrong>March 3, Cafe du Nord. Details \u003ca href=\"https://www.eventbrite.com/e/partner-dude-york-blushh-the-total-bettys-cafe-du-nord-tickets-50423540166\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3369198218/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breaking up in the queer world means you’ll probably still run into your ex on the patio at El Rio, and that they might remain friends with half of your friends. The Total Bettys have the balm for this particular type of heartache, which they hit on the nose with their tightly composed pop punk album \u003cem>This is Paradise\u003c/em>. With charged-up guitar riffs, a sturdy rhythm section and Maggie Grabmeier’s crestfallen vocals, the Total Bettys feel your angst and channel it on 11.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has been around since 1993, when the festival debuted as a $5 indie rock show at the Kennel Club (now the Independent). These days, the week-long, homegrown music showcase features dozens of artists working in a variety of genres, including rap, pop and electronic, and takes place at various venues on both sides of the Bay.\u003c/p>\n\u003cp>The festival kicks off on Feb. 25 and goes through March 3, with multiple shows happening each night. Beyond well-known acts like Beirut, Princess Nokia, Bob Mould and Yuna, we’ve rounded up 10 stellar Bay Area artists not to miss this year.\u003c/p>\n\u003ch2>Pllush\u003c/h2>\n\u003cp>Performing with Miserable, Same Girls and Super Unison.\u003cbr>\n\u003cstrong>Feb. 26, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9866\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3503424820/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>Pllush emerged from the same fertile indie rock scene that produced standout Bay Area bands like Jay Som and Pardoner. Their 2018 album, \u003cem>Stranger to the Pain \u003c/em>(Father/Daughter Records), moves seamlessly from punchy garage-pop jam “Ortega” to gauzy shoegaze track “Big Train” and downcast post-punk meditation “Restart.” With lyrics about love and heartbreak, delicate harmonies that hit during maximal emotional catharsis and gritty instrumentation worthy of a mosh pit, Pllush’s unpolished, earnest approach has rendered them a band to watch this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Wizard Apprentice\u003c/h2>\n\u003cp>Performing with Baths, Briana Marela and There’s Talk.\u003cbr>\n\u003cstrong>Feb. 27, Great American Music Hall. Details \u003ca href=\"https://www.eventbrite.com/e/baths-gamh-w-briana-marela-wizard-apprentice-theres-talk-noise-pop-festival-2019-presents-tickets-51730251575?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=2838511816/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>You know all the embarrassing feelings of jealousy, insecurity and self-doubt that usually stay between you and your diary or therapist? Wizard Apprentice brings them into the light where listeners can acknowledge them, observe them and then finally let them go. The artist’s 2018 album, \u003cem>I Am Invisible \u003c/em>(Ratskin Records), is a collection of bedroom electronic tracks that are compositionally sparse, yet incredibly rich in their storytelling. Wizard Apprentice’s tracks drop all pretenses and cut straight to the heart of heavy emotional processing.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Rose Droll\u003c/h2>\n\u003cp>Performing with Caroline Rose and Superet.\u003cbr>\n\u003cstrong>Feb. 28, The Independent. Details \u003ca href=\"http://www.ticketfly.com/event/1779484-caroline-rose-san-francisco/?utm_medium=1098158\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=1784071394/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>Versatile multi-instrumentalist Rose Droll can do a lot with a little, as evinced by her 2018 album \u003cem>Your Dog\u003c/em> (Father/Daughter Records). She mostly composed it in her room on acoustic guitar (and later added piano, glockenspiel and cello in the studio), and cobbled together a unique style of beat-driven folk instrumentation and throaty singing that often lapses into spoken word. \u003cem>Your Dog \u003c/em>made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2018\u003c/a> list on the strength of its inventive approach.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>vverewolf\u003c/h2>\n\u003cp>Performing with Uffie, MPHD and Starfari.\u003cbr>\n\u003cstrong>March 1, The Independent. Details \u003ca href=\"https://www.eventbrite.com/e/uffie-mphd-starfari-vverevvolf-the-independent-tickets-52228742575\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3859730063/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>Oakland pop duo vverewolf sound like they were raised on a diet of sugary cereal and Kesha, and they proudly rep their love for bubblegum pop in their work. The sparkling, synth-heavy tracks on their latest EP, \u003cem>Ugh!\u003c/em>, feel like injections of Unicorn Frappuccino straight into the blood stream. Still, there’s an emotional poignancy beneath the saccharine surface, especially on “The Other Side,” a frank, confessional track about depression and substance abuse.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Tia Nomore and Queens D.Light\u003c/h2>\n\u003cp>Performing with Princess Nokia.\u003cbr>\n\u003cstrong>March 2, UC Theatre. Details \u003ca href=\"https://www.ticketfly.com/purchase/event/1795573?utm_medium=1098158&q=cdfa5d18-d78e-4f86-8a80-9f99f7beef2e&p=ac6989c9-999f-49f7-895a-3a9e69985752&ts=1550790229&c=ticketfly&e=003355a&rt=Safetynet&h=94bc9b93f5f0b0cbdcccdd0190fa127a\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=1286267833/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=547962662/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\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=2150569020/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>Tia NoMore and Queens D.Light are two of the most dynamic voices in the Bay Area rap scene, and they couldn’t be more different. Queens’ dreamy meditations on sex and spirituality are what you want to bump when you’re lighting incense and painting or reading in your room (the perfect vibe for Pisces season, which is now upon us). Tia Nomore, on the other hand, delivers fiery tomboy raps in English and sometimes Japanese, and her penchant for beats with heavy slap recall the likes of Bay Area staples like Mac Dre and Mac Mall.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Lara Sarkissian\u003c/h2>\n\u003cp>Performing with Yves Tumor and Watkins/Peacock.\u003cbr>\n\u003cstrong>March 2, The Chapel. Details \u003ca href=\"https://www.eventbrite.com/e/yves-tumor-lara-sarkissian-watkinspeacock-the-chapel-tickets-52417835156\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=1895085439/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>Lara Sarkissian is one half of Club Chai, the forward-thinking Oakland party and label that carved out a lane for experimental club music that caters to people who are queer, trans, immigrant, of color—or just appreciate beats that defy genres and borders. On her latest EP, \u003cem>Disruption\u003c/em>, Sarkissian draws from Armenian mythology, transporting it thousands of years into the future through heavily percussive tracks abuzz with textured synths.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Trebuchet\u003c/h2>\n\u003cp>Performing with Ben Morrison of the Brothers Comatose, Andrew St. James and Television Spies.\u003cbr>\n\u003cstrong>March 2, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9868\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=49318725/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>Who but Trebuchet’s Elliott Whitehurst could write a fluttering, ethereal folk album about calling off his wedding the night before it was supposed to happen? Throughout Trebuchet’s \u003cem>Volte-Face \u003c/em>(which made our\u003cem> \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2017\u003c/a> list), Whitehurst meditates on a love that he “watched over-ripen” and ultimately chooses to walk away instead of living to please someone else. The resulting record makes poetry from a convoluted situation, with harmonies and string arrangements galore. (However, I’m still waiting for his ex’s version of \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>FR333\u003c/h2>\n\u003cp>Performing with Crumb, Video Age and Idhaz & Rose Cherami.\u003cbr>\n\u003cstrong>March 2, Starline Social Club. Details \u003ca href=\"https://www.eventbrite.com/e/sold-out-crumb-video-age-idhaz-rose-cherami-fr333-starline-social-club-tickets-53612898623?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3024213588/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>Oakland hip-hop duo FR333’s live shows might start with some ritualistic sage burning and end in a twerk-off, but the core of the performance is always about getting in touch with one’s inner confidence. Raw, vulnerable and sexy, FR333’s work empowers and inspires by looking inward and excavating the emotional depths of spiritual growth and sexuality. Vocalist MADlines (who recently wrote a KQED Arts \u003ca href=\"https://www.kqed.org/arts/13850633/breaking-free-from-toxic-love-madlines-story\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> about self-love and leaving a toxic relationship) captivates with evocative metaphors and raspy inflections, while producer and multi-instrumentalist XOA’s intricate beatmaking creates a luxurious, velvety backdrop.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>The Total Bettys\u003c/h2>\n\u003cp>Performing with Partner, Dude York and Blushh.\u003cbr>\n\u003cstrong>March 3, Cafe du Nord. Details \u003ca href=\"https://www.eventbrite.com/e/partner-dude-york-blushh-the-total-bettys-cafe-du-nord-tickets-50423540166\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\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=3369198218/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breaking up in the queer world means you’ll probably still run into your ex on the patio at El Rio, and that they might remain friends with half of your friends. The Total Bettys have the balm for this particular type of heartache, which they hit on the nose with their tightly composed pop punk album \u003cem>This is Paradise\u003c/em>. With charged-up guitar riffs, a sturdy rhythm section and Maggie Grabmeier’s crestfallen vocals, the Total Bettys feel your angst and channel it on 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Toro y Moi is the Most Regular Famous Person You'll Ever Meet",
"headTitle": "Toro y Moi is the Most Regular Famous Person You’ll Ever Meet | KQED",
"content": "\u003cp>Toro y Moi has \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">sped through the Atlantic\u003c/a> on Diddy’s speedboat, produced for Travis Scott and performed for sold-out crowds around the world. But his day-to-day life in the Bay Area isn’t nearly as glamorous. Most of the time, in fact, he can be found collaborating with local artists at his warehouse on a graffiti-covered street in North Oakland—the home base of his design studio and record label, Company.\u003c/p>\n\u003cp>But glamor isn’t what the artist—real name Chaz Bear—looks for in a city. “If you look at Oakland and where it’s going, I feel like it’s a city for subcultural artists of color. It’s open-minded,” he tells me on a rainy afternoon at KQED’s San Francisco office, where he arrives wearing a neon-green, reflective worker’s jacket screenprinted with the Company Records logo.\u003c/p>\n\u003cp>Company’s headquarters isn’t far from the final freeway exit Bear takes in his 2017 one-take visual album, \u003ca href=\"https://youtu.be/9rPOuZ4vY50\" target=\"_blank\" rel=\"noopener\">\u003cem>Boo Boo\u003c/em>\u003c/a>, which follows his car from San Francisco and over the Bay Bridge into Oakland. Released after Bear reached a new pinnacle of mainstream success (the \u003ca href=\"https://www.youtube.com/watch?v=p-VjvajEJNw\" target=\"_blank\" rel=\"noopener\">Travis Scott collaboration\u003c/a> came in 2015 for the rapper’s chart-topping debut, \u003cem>Rodeo\u003c/em>; the Diddy connection took root that same year, backstage at Coachella), the \u003cem>Boo Boo\u003c/em> video served as metaphor, reaffirming his commitment to his adopted East Bay home while the music industry’s eyes were on him.\u003c/p>\n\u003cfigure id=\"attachment_11629028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629028\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg\" alt=\"Chaz Budnick of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaz Bear of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the year and a half between the heartbreak themes of \u003cem>Boo Boo\u003c/em> and his funkier, more danceable new Toro y Moi album, \u003cem>Outer Peace\u003c/em> (released Jan. 18 on Carpark Records), Bear established himself as a passionate supporter of the Bay Area’s creative community through collaborations with local artists. Those include diverse, interdisciplinary collectives \u003ca href=\"https://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>, \u003ca href=\"http://shadezine.com/\" target=\"_blank\" rel=\"noopener\">Shade Zine\u003c/a> and \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, all of whom have significantly shaped Oakland’s visual art and nightlife scenes in the past several years.\u003c/p>\n\u003cp>“The first show I played here was at Bottom of the Hill, and the first thing I noticed was how diverse the crowd was. The first two rows were Filipino teens,” says Bear, who is Filipino and African American, with a slight build, bleached hair and a soft-spoken demeanor. “This was my first show out of South Carolina, and I was blown away. It was cool to see a city that had a diverse subculture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Jm6hDWBZXc4\u003c/p>\n\u003cp>Bear arrived in the Bay Area in 2012, when he followed his then-girlfriend from South Carolina to her grad program at UC Berkeley. During that period, he rose in the ranks of the music blogosphere and became known as a key architect of chillwave, a fuzzed-out indie rock and electronic subgenre that continues to influence to today’s pop music landscape.\u003c/p>\n\u003cp>After moving to the Bay, Bear quickly gelled with the local scene—and his sound evolved, too. In part through various DJ gigs—including several at Wine & Bowties’ homegrown mini-festival, \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>—he honed the sleek, autotuned take on funk and disco that defines \u003cem>Outer Peace\u003c/em>. While \u003cem>Boo Boo\u003c/em> lamented his separation from his high-school sweetheart, \u003cem>Outer Peace\u003c/em> finds Bear in a productive and energized state. The album celebrates the creative hustle of self-employed artists behind their laptops; the debut single, appropriately, is called “Freelance.”\u003c/p>\n\u003cp>With creative partner Brendan Nakahara, Bear built Company’s headquarters on that “Freelance” ethos of a constant grind. When we talk, he likens it to a millennial version of Andy Warhol’s famed Factory, where white indie-rock dudes rub shoulders with black feminist photographers and Asian-American designers.\u003c/p>\n\u003cp>“It’s really sick to see these crews getting their foot in the door, and I feel like I’m in a position where I have to come in with the assist,” he reflects. “It’s almost required as a successful person—you have to give back. If you’re not giving opportunities, it’s kind of for the wrong reasons.”\u003c/p>\n\u003cp>As much as Bear loves Oakland, the sold-out kickoff show for his \u003cem>Outer Peace\u003c/em> tour at the New Parish proved that the town loves him right back. The eager audience applauded his slightly awkward dance moves, clapping along on the two and the four of almost every track.\u003c/p>\n\u003cfigure id=\"attachment_13848959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg\" alt=\"Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Company, Bear produces for several Oakland indie acts, including \u003ca href=\"https://tanukichan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tanukichan\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>. He mentors his artists on all aspects of the biz, including writing hooks, social media branding and booking shows. Unlike at a traditional label, “there’s no advance, but you get my time and my ear and my eye and we’ll make the best thing we can make,” Bear says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s good at putting people into contexts where they can then find their own voices, whether it’s producing a record or having them on for a tour,” says Astronauts, etc.’s Anthony Ferraro, who is also Bear’s touring keyboardist and has his own studio at Company HQ. “He’s a really good enabler. He has an intuition for that sort of thing.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Though Bear bases most of his collaborations on friendship, he ultimately sees Company as a business. To hang with his crew, you can’t be a purist with too many misgivings about “selling out,” nor harbor too many romantic aspirations of art existing outside of the market. For example, while many in the Bay Area’s creative scene bristle at mentions of the tech industry—a primary driver of gentrification and displacement in the region—Bear is quick to cite Instagram as a source of inspiration for his interdisciplinary curation at Company.\u003c/p>\n\u003cp>“D.I.Y. is great, but we also want it to pay for itself,” he says. “It’s hard to make that first jump as an artist, to put yourself out there and really sell it, do the interviews and brand your image, to go from playing house shows to being at The Fillmore.”\u003c/p>\n\u003cp>For instance, Salami Rose Joe Louis, one of his opening acts for his \u003cem>Outer Peace\u003c/em> tour (which kicked off Jan. 14 in Oakland), played the local house-show circuit as recently as six months ago. After they opened for Toro y Moi at The Novo, a 2,400-capacity club in Los Angeles, Bear remembers telling the band: “I’m sure you guys must be feeling crazy right now, but we’re really putting Oakland on.”\u003c/p>\n\u003cp>As much as he’s thrived on a D.I.Y. approach, Bear’s eventual goal is to own the Company Records building and build a more permanent infrastructure that includes a staff. Basically, he’s trying to implement the lessons he learned from hanging with Diddy on that boat off the Miami coast.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The knowledge I got from hanging out with artists who are bigger than me or more successful—you can’t read about that sort of stuff, you just have to see it,” he says. “It’s fun to see how other camps work in bigger industries, and to bring that knowledge back down to the indie scene is valuable.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Though he's worked with Travis Scott and taken boat rides with Diddy, Toro y Moi is committed as ever to Oakland's local scene. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toro y Moi has \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">sped through the Atlantic\u003c/a> on Diddy’s speedboat, produced for Travis Scott and performed for sold-out crowds around the world. But his day-to-day life in the Bay Area isn’t nearly as glamorous. Most of the time, in fact, he can be found collaborating with local artists at his warehouse on a graffiti-covered street in North Oakland—the home base of his design studio and record label, Company.\u003c/p>\n\u003cp>But glamor isn’t what the artist—real name Chaz Bear—looks for in a city. “If you look at Oakland and where it’s going, I feel like it’s a city for subcultural artists of color. It’s open-minded,” he tells me on a rainy afternoon at KQED’s San Francisco office, where he arrives wearing a neon-green, reflective worker’s jacket screenprinted with the Company Records logo.\u003c/p>\n\u003cp>Company’s headquarters isn’t far from the final freeway exit Bear takes in his 2017 one-take visual album, \u003ca href=\"https://youtu.be/9rPOuZ4vY50\" target=\"_blank\" rel=\"noopener\">\u003cem>Boo Boo\u003c/em>\u003c/a>, which follows his car from San Francisco and over the Bay Bridge into Oakland. Released after Bear reached a new pinnacle of mainstream success (the \u003ca href=\"https://www.youtube.com/watch?v=p-VjvajEJNw\" target=\"_blank\" rel=\"noopener\">Travis Scott collaboration\u003c/a> came in 2015 for the rapper’s chart-topping debut, \u003cem>Rodeo\u003c/em>; the Diddy connection took root that same year, backstage at Coachella), the \u003cem>Boo Boo\u003c/em> video served as metaphor, reaffirming his commitment to his adopted East Bay home while the music industry’s eyes were on him.\u003c/p>\n\u003cfigure id=\"attachment_11629028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629028\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg\" alt=\"Chaz Budnick of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaz Bear of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the year and a half between the heartbreak themes of \u003cem>Boo Boo\u003c/em> and his funkier, more danceable new Toro y Moi album, \u003cem>Outer Peace\u003c/em> (released Jan. 18 on Carpark Records), Bear established himself as a passionate supporter of the Bay Area’s creative community through collaborations with local artists. Those include diverse, interdisciplinary collectives \u003ca href=\"https://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>, \u003ca href=\"http://shadezine.com/\" target=\"_blank\" rel=\"noopener\">Shade Zine\u003c/a> and \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, all of whom have significantly shaped Oakland’s visual art and nightlife scenes in the past several years.\u003c/p>\n\u003cp>“The first show I played here was at Bottom of the Hill, and the first thing I noticed was how diverse the crowd was. The first two rows were Filipino teens,” says Bear, who is Filipino and African American, with a slight build, bleached hair and a soft-spoken demeanor. “This was my first show out of South Carolina, and I was blown away. It was cool to see a city that had a diverse subculture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jm6hDWBZXc4'\n title='//www.youtube.com/embed/Jm6hDWBZXc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bear arrived in the Bay Area in 2012, when he followed his then-girlfriend from South Carolina to her grad program at UC Berkeley. During that period, he rose in the ranks of the music blogosphere and became known as a key architect of chillwave, a fuzzed-out indie rock and electronic subgenre that continues to influence to today’s pop music landscape.\u003c/p>\n\u003cp>After moving to the Bay, Bear quickly gelled with the local scene—and his sound evolved, too. In part through various DJ gigs—including several at Wine & Bowties’ homegrown mini-festival, \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>—he honed the sleek, autotuned take on funk and disco that defines \u003cem>Outer Peace\u003c/em>. While \u003cem>Boo Boo\u003c/em> lamented his separation from his high-school sweetheart, \u003cem>Outer Peace\u003c/em> finds Bear in a productive and energized state. The album celebrates the creative hustle of self-employed artists behind their laptops; the debut single, appropriately, is called “Freelance.”\u003c/p>\n\u003cp>With creative partner Brendan Nakahara, Bear built Company’s headquarters on that “Freelance” ethos of a constant grind. When we talk, he likens it to a millennial version of Andy Warhol’s famed Factory, where white indie-rock dudes rub shoulders with black feminist photographers and Asian-American designers.\u003c/p>\n\u003cp>“It’s really sick to see these crews getting their foot in the door, and I feel like I’m in a position where I have to come in with the assist,” he reflects. “It’s almost required as a successful person—you have to give back. If you’re not giving opportunities, it’s kind of for the wrong reasons.”\u003c/p>\n\u003cp>As much as Bear loves Oakland, the sold-out kickoff show for his \u003cem>Outer Peace\u003c/em> tour at the New Parish proved that the town loves him right back. The eager audience applauded his slightly awkward dance moves, clapping along on the two and the four of almost every track.\u003c/p>\n\u003cfigure id=\"attachment_13848959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg\" alt=\"Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Company, Bear produces for several Oakland indie acts, including \u003ca href=\"https://tanukichan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tanukichan\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>. He mentors his artists on all aspects of the biz, including writing hooks, social media branding and booking shows. Unlike at a traditional label, “there’s no advance, but you get my time and my ear and my eye and we’ll make the best thing we can make,” Bear says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s good at putting people into contexts where they can then find their own voices, whether it’s producing a record or having them on for a tour,” says Astronauts, etc.’s Anthony Ferraro, who is also Bear’s touring keyboardist and has his own studio at Company HQ. “He’s a really good enabler. He has an intuition for that sort of thing.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Though Bear bases most of his collaborations on friendship, he ultimately sees Company as a business. To hang with his crew, you can’t be a purist with too many misgivings about “selling out,” nor harbor too many romantic aspirations of art existing outside of the market. For example, while many in the Bay Area’s creative scene bristle at mentions of the tech industry—a primary driver of gentrification and displacement in the region—Bear is quick to cite Instagram as a source of inspiration for his interdisciplinary curation at Company.\u003c/p>\n\u003cp>“D.I.Y. is great, but we also want it to pay for itself,” he says. “It’s hard to make that first jump as an artist, to put yourself out there and really sell it, do the interviews and brand your image, to go from playing house shows to being at The Fillmore.”\u003c/p>\n\u003cp>For instance, Salami Rose Joe Louis, one of his opening acts for his \u003cem>Outer Peace\u003c/em> tour (which kicked off Jan. 14 in Oakland), played the local house-show circuit as recently as six months ago. After they opened for Toro y Moi at The Novo, a 2,400-capacity club in Los Angeles, Bear remembers telling the band: “I’m sure you guys must be feeling crazy right now, but we’re really putting Oakland on.”\u003c/p>\n\u003cp>As much as he’s thrived on a D.I.Y. approach, Bear’s eventual goal is to own the Company Records building and build a more permanent infrastructure that includes a staff. Basically, he’s trying to implement the lessons he learned from hanging with Diddy on that boat off the Miami coast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The knowledge I got from hanging out with artists who are bigger than me or more successful—you can’t read about that sort of stuff, you just have to see it,” he says. “It’s fun to see how other camps work in bigger industries, and to bring that knowledge back down to the indie scene is valuable.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo",
"headTitle": "The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo | KQED",
"content": "\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\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>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\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>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13847040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/rose-droll-800x800.jpg\" alt=\"Rose Droll, 'Your Dog.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rose Droll, ‘Your Dog.’\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>One of the strangest and most thrilling records to emerge from the Bay Area’s indie rock scene this year, Rose Droll’s \u003cem>Your Dog\u003c/em> (Father/Daughter Records) is an economic album born of necessity.\u003c/p>\n\u003cp>Droll found herself with too many lyrics to fit into a melody, so she developed a whispery, spoken-word style of rapping that recalls folky genre-benders like Beck and Regina Spektor. Because she lived in a thin-walled apartment with roommates during \u003cem>Your Dog\u003c/em>‘s creation, she couldn’t write the album with the assistance of a drum kit or amps: instead, the dominant instrument became her acoustic guitar, played in a percussive style that utilizes the \u003cem>thump\u003c/em> of Droll’s palm and the \u003cem>shing \u003c/em>of her fingers sliding down the strings.\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=1784071394/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>Droll’s intriguing style of beat-driven, bedroom folk-rock parses her coming-of-age move to San Francisco from Modesto, leaving her devout, Christian community behind and discovering herself through art and love. “Hush,” which starts with a chorus of “This little light of mine,” hits the hardest beat change since Travis Scott’s “Sicko Mode” as Droll delivers a hurried verse to a lover who can’t get their shit together. Her whispered confessions feel intimate, beckoning the listener to lean in closer. [contextly_sidebar id=”jbsIwpjUsZ4cWJMOY1GETzbzjT0WhBXk”]\u003c/p>\n\u003cp>Droll, who played all the instruments on \u003cem>Your Dog\u003c/em>, including cello, glockenspiel and piano, is the type of multi-instrumentalist who moves with an inherent musicality. Her gifts for melody are most apparent on “Happy Kitten” and “Fat Duck,” where she breaks from the dense blocks of words and gives her raspy singing voice space to breath. “I don’t have money for the things I think I need / And it takes too much to think of you and me,” she sings on “Happy Kitten” before launching into a yearning, open-throated chorus that tugs at the heartstrings. [contextly_sidebar id=”9oFKz3H3WCB29f6wz81BeNDQiBeVQ0jL”]\u003c/p>\n\u003cp>At a time when much of pop music feels like fast fashion, Droll takes a refreshingly homespun approach, and she impresses with what she’s able to accomplish with little assistance. \u003cem>Your Dog \u003c/em>strikes a delicate balance of D.I.Y. and polish, and flexes Droll’s quiet yet mighty powers as a songwriter and producer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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Because she lived in a thin-walled apartment with roommates during \u003cem>Your Dog\u003c/em>‘s creation, she couldn’t write the album with the assistance of a drum kit or amps: instead, the dominant instrument became her acoustic guitar, played in a percussive style that utilizes the \u003cem>thump\u003c/em> of Droll’s palm and the \u003cem>shing \u003c/em>of her fingers sliding down the strings.\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=1784071394/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>Droll’s intriguing style of beat-driven, bedroom folk-rock parses her coming-of-age move to San Francisco from Modesto, leaving her devout, Christian community behind and discovering herself through art and love. “Hush,” which starts with a chorus of “This little light of mine,” hits the hardest beat change since Travis Scott’s “Sicko Mode” as Droll delivers a hurried verse to a lover who can’t get their shit together. Her whispered confessions feel intimate, beckoning the listener to lean in closer. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Droll, who played all the instruments on \u003cem>Your Dog\u003c/em>, including cello, glockenspiel and piano, is the type of multi-instrumentalist who moves with an inherent musicality. Her gifts for melody are most apparent on “Happy Kitten” and “Fat Duck,” where she breaks from the dense blocks of words and gives her raspy singing voice space to breath. “I don’t have money for the things I think I need / And it takes too much to think of you and me,” she sings on “Happy Kitten” before launching into a yearning, open-throated chorus that tugs at the heartstrings. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At a time when much of pop music feels like fast fashion, Droll takes a refreshingly homespun approach, and she impresses with what she’s able to accomplish with little assistance. \u003cem>Your Dog \u003c/em>strikes a delicate balance of D.I.Y. and polish, and flexes Droll’s quiet yet mighty powers as a songwriter and producer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13846215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville-.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Album art for Shannon Shaw’s ‘Shannon in Nashville.’\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 back here\u003c/a> to see who else made the list. \u003c/em>\u003c/p>\n\u003cp>With their campy, countercultural take on retro Americana, Shannon and the Clams look like they walked right off a \u003ca href=\"https://www.kqed.org/forum/201406091000/john-waters-guide-to-the-hitchhiking-galaxy\" target=\"_blank\" rel=\"noopener\">John Waters\u003c/a> movie set. And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. [contextly_sidebar id=”9RhvtDZ8Um4C6kXdKqScOLcJCLLVX83R”]\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright] \u003c/p>\n",
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And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. 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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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"title": "Treasure Island's New Oakland Edition a Success—Now It's Time to Mix Genres",
"headTitle": "Treasure Island’s New Oakland Edition a Success—Now It’s Time to Mix Genres | KQED",
"content": "\u003cp>At the \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">newly relocated\u003c/a> Treasure Island Music Festival on Saturday, Santigold thrashed to “L.E.S. Artistes” and swayed to the reggae rhythm of “Run the Road” wearing a red cape covered in money, plastic water bottles and green moss. With its eccentric and eco-conscious attire (“money and plastic are ruining the environment” was the message I got) and textured, pastel-hued set design, Santigold’s performance looked and felt like something out of a ’90s Nickelodeon show—and it was glorious.\u003c/p>\n\u003cp>Her set wasn’t exactly PG, though—during her dancehall bop “Coo Coo Coo,” a dis to men who catcall women, a cartoon pig with six-pack abs and exposed genitals appeared on screen. The audience was clearly there for it: dozens of girls in Vans and tube tops stampeded to the front of the stage to join the singer for her electro-punk anthem “Creator,” about making one’s own rules.\u003c/p>\n\u003cfigure id=\"attachment_13842781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3883-800x533.jpg\" alt=\"A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santigold’s out-there set was a climactic point of this year’s TIMF, which returned this year after a hiatus in 2017. Though it retains the Treasure Island name, the festival now takes place in Oakland’s Middle Harbor Shoreline Park due to \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">ongoing construction\u003c/a> on the actual Treasure Island.\u003c/p>\n\u003cp>The misnomer might be a little awkward, but the abundance of eclectic talent, warm weather and sweeping views of the San Francisco skyline made the festival’s growing pains easy to forget. Treasure Island was a little more bare this year—no Ferris wheel or silent disco—which kept the focus on the music.\u003c/p>\n\u003cfigure id=\"attachment_13842828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-800x533.jpg\" alt=\"Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, after Saturday’s colorful and eclectic lineup, the energy waned a bit on Sunday, which leaned toward indie rock. With the new location, Treasure Island could have also benefitted from a new approach to genres. The festival’s dichotomous schedule, with electronic music on the first day and rock on the second, is an institution that dates back to the festival’s beginnings in the late 2000s, when the prevalent hipster aesthetics were bloghouse electro and indie rock. But at this point, the separation between genres feels arcane and unnecessary, especially as Saturday grows more varied with additional hip-hop, pop and electronic subgenres each year and Sunday stays essentially the same.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saturday, the more exciting day of the fest, was all about impressive vocalists. Moses Sumney, a rising singer-producer with the self-reflectiveness of Frank Ocean and baroque instrumental arrangements of Sigur Rós, wowed the audience with his high-flying falsetto and live vocal manipulations. Throughout his set, he harmonized with his loop pedal and improvised off his violinist’s playing, which swelled from plucked, staccato beats to a chill-inducing solo.\u003c/p>\n\u003cfigure id=\"attachment_13842748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3391-800x533.jpg\" alt=\"Hiatus Kaiyote perform at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Naomi “Nai Palm” Saalfield from neo-soul group Hiatus Kaiyote stunned festival-goers with her diva-worthy vocal chops. Much like Amy Winehouse, the Australian Saalfield is clearly inspired by African-American jazz, soul and gospel traditions; Hiatus Kaiyote’s raucous instrumentation ignited the band’s R&B and soul compositions and transformed them into chaotic jam sessions. Rapper Aminé, who also played an excellent set Saturday evening, came out from backstage and watched Hiatus Kaiyote from the photo pit, mouth agape.\u003c/p>\n\u003cp>The rest of Saturday’s lineup was stacked: A$AP Rocky’s headlining set sparked several mosh pits; Pusha T’s performance had legions of hip-hop heads rapping along; Silk City (Diplo and Mark Ronson’s DJ duo) spun ’90s house; Laff Trax (Toro y Moi and Nosaj Thing) got a dance party going with self-produced disco and funk. In contrast, Sunday was dedicated to mostly shoegazey indie rock and a bit of post-punk; it felt more mellow and much less eventful. A large contingent of fans, in fact, showed up at the very end for Tame Impala’s excellent headlining set, bypassing the earlier bands.\u003c/p>\n\u003cfigure id=\"attachment_13842777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3789-800x533.jpg\" alt=\"Pusha T performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, a majority of the musicians on stage Sunday were white guys; Cigarettes After Sex and Lord Huron’s reverb-laden guitars began to blend together in the hours between Courtney Barnett’s high-energy rock’n’roll and Tame Impala’s ornate psychedelia. The band Jungle got the people moving, but their take on disco sounded a bit too much like Bee Gees karaoke. One earlier band in particular, U.S. Girls, deserves a shoutout for their lively, danceable performance, which included Kate Bush-esque vocals and saxophone solos.\u003c/p>\n\u003cfigure id=\"attachment_13842809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4152-800x533.jpg\" alt=\"U.S. Girls perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Girls perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Music listeners today are complex, and it doesn’t feel like festival promoters give them enough credit when they split up the days by genre. Mixing up U.K. band Shame’s hyperactive, angry post-punk, for instance, and Aminé’s mosh-worthy rap could’ve created exciting cross-pollination. Still, Treasure Island offers a chance to see internationally touring acts without the same level of sensory overload and overcrowding as bigger fests, and thus is a welcome part of the Bay Area’s music festival ecosystem. It’s good to have it back.\u003c/p>\n\u003ch2>More photos below.\u003c/h2>\n\u003cfigure id=\"attachment_13842749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3399-800x533.jpg\" alt=\"Polo and Pan backstage at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan backstage at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4619-800x533.jpg\" alt=\"Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3437-800x533.jpg\" alt=\"Laff Trax perform at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laff Trax perform at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3587-800x533.jpg\" alt=\"Aminé performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4253-800x533.jpg\" alt=\"Courtney Barnett performs at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett performs at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3639-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4101-800x533.jpg\" alt=\"Sharon Van Etten performs at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Van Etten performs at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3745-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842803\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4054-800x533.jpg\" alt=\"Courtney Barnett backstage at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett backstage at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4077-800x533.jpg\" alt=\"Shame perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shame perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3960-800x533.jpg\" alt=\"A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3507-800x533.jpg\" alt=\"Laff Trax backstage at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laff Trax backstage at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842817\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4337-800x533.jpg\" alt=\"Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3710-800x533.jpg\" alt=\"Silk City perform at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Silk City perform at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4189-800x533.jpg\" alt=\"Lord Huron backstage at Treasure Island Music Festival on Oct. 13, 2018. Lord Huron backstage at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lord Huron backstage at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3772-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3406-800x533.jpg\" alt=\"Hiatus Kaiyote backstage at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote backstage at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3850-800x533.jpg\" alt=\"A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3468-800x533.jpg\" alt=\"Santigold performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santigold performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "After an eventful first year in Oakland, the Treasure Island Music Festival may want to desegregate music genres by day. ",
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"description": "After an eventful first year in Oakland, the Treasure Island Music Festival may want to desegregate music genres by day. ",
"title": "Treasure Island's New Oakland Edition a Success—Now It's Time to Mix Genres | KQED",
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"headline": "Treasure Island's New Oakland Edition a Success—Now It's Time to Mix Genres",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">newly relocated\u003c/a> Treasure Island Music Festival on Saturday, Santigold thrashed to “L.E.S. Artistes” and swayed to the reggae rhythm of “Run the Road” wearing a red cape covered in money, plastic water bottles and green moss. With its eccentric and eco-conscious attire (“money and plastic are ruining the environment” was the message I got) and textured, pastel-hued set design, Santigold’s performance looked and felt like something out of a ’90s Nickelodeon show—and it was glorious.\u003c/p>\n\u003cp>Her set wasn’t exactly PG, though—during her dancehall bop “Coo Coo Coo,” a dis to men who catcall women, a cartoon pig with six-pack abs and exposed genitals appeared on screen. The audience was clearly there for it: dozens of girls in Vans and tube tops stampeded to the front of the stage to join the singer for her electro-punk anthem “Creator,” about making one’s own rules.\u003c/p>\n\u003cfigure id=\"attachment_13842781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3883-800x533.jpg\" alt=\"A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3883-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santigold’s out-there set was a climactic point of this year’s TIMF, which returned this year after a hiatus in 2017. Though it retains the Treasure Island name, the festival now takes place in Oakland’s Middle Harbor Shoreline Park due to \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">ongoing construction\u003c/a> on the actual Treasure Island.\u003c/p>\n\u003cp>The misnomer might be a little awkward, but the abundance of eclectic talent, warm weather and sweeping views of the San Francisco skyline made the festival’s growing pains easy to forget. Treasure Island was a little more bare this year—no Ferris wheel or silent disco—which kept the focus on the music.\u003c/p>\n\u003cfigure id=\"attachment_13842828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-800x533.jpg\" alt=\"Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4515-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, after Saturday’s colorful and eclectic lineup, the energy waned a bit on Sunday, which leaned toward indie rock. With the new location, Treasure Island could have also benefitted from a new approach to genres. The festival’s dichotomous schedule, with electronic music on the first day and rock on the second, is an institution that dates back to the festival’s beginnings in the late 2000s, when the prevalent hipster aesthetics were bloghouse electro and indie rock. But at this point, the separation between genres feels arcane and unnecessary, especially as Saturday grows more varied with additional hip-hop, pop and electronic subgenres each year and Sunday stays essentially the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday, the more exciting day of the fest, was all about impressive vocalists. Moses Sumney, a rising singer-producer with the self-reflectiveness of Frank Ocean and baroque instrumental arrangements of Sigur Rós, wowed the audience with his high-flying falsetto and live vocal manipulations. Throughout his set, he harmonized with his loop pedal and improvised off his violinist’s playing, which swelled from plucked, staccato beats to a chill-inducing solo.\u003c/p>\n\u003cfigure id=\"attachment_13842748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3391-800x533.jpg\" alt=\"Hiatus Kaiyote perform at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3391-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Naomi “Nai Palm” Saalfield from neo-soul group Hiatus Kaiyote stunned festival-goers with her diva-worthy vocal chops. Much like Amy Winehouse, the Australian Saalfield is clearly inspired by African-American jazz, soul and gospel traditions; Hiatus Kaiyote’s raucous instrumentation ignited the band’s R&B and soul compositions and transformed them into chaotic jam sessions. Rapper Aminé, who also played an excellent set Saturday evening, came out from backstage and watched Hiatus Kaiyote from the photo pit, mouth agape.\u003c/p>\n\u003cp>The rest of Saturday’s lineup was stacked: A$AP Rocky’s headlining set sparked several mosh pits; Pusha T’s performance had legions of hip-hop heads rapping along; Silk City (Diplo and Mark Ronson’s DJ duo) spun ’90s house; Laff Trax (Toro y Moi and Nosaj Thing) got a dance party going with self-produced disco and funk. In contrast, Sunday was dedicated to mostly shoegazey indie rock and a bit of post-punk; it felt more mellow and much less eventful. A large contingent of fans, in fact, showed up at the very end for Tame Impala’s excellent headlining set, bypassing the earlier bands.\u003c/p>\n\u003cfigure id=\"attachment_13842777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3789-800x533.jpg\" alt=\"Pusha T performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3789-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, a majority of the musicians on stage Sunday were white guys; Cigarettes After Sex and Lord Huron’s reverb-laden guitars began to blend together in the hours between Courtney Barnett’s high-energy rock’n’roll and Tame Impala’s ornate psychedelia. The band Jungle got the people moving, but their take on disco sounded a bit too much like Bee Gees karaoke. One earlier band in particular, U.S. Girls, deserves a shoutout for their lively, danceable performance, which included Kate Bush-esque vocals and saxophone solos.\u003c/p>\n\u003cfigure id=\"attachment_13842809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4152-800x533.jpg\" alt=\"U.S. Girls perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4152-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Girls perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music listeners today are complex, and it doesn’t feel like festival promoters give them enough credit when they split up the days by genre. Mixing up U.K. band Shame’s hyperactive, angry post-punk, for instance, and Aminé’s mosh-worthy rap could’ve created exciting cross-pollination. Still, Treasure Island offers a chance to see internationally touring acts without the same level of sensory overload and overcrowding as bigger fests, and thus is a welcome part of the Bay Area’s music festival ecosystem. It’s good to have it back.\u003c/p>\n\u003ch2>More photos below.\u003c/h2>\n\u003cfigure id=\"attachment_13842749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3399-800x533.jpg\" alt=\"Polo and Pan backstage at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3399-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan backstage at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4619-800x533.jpg\" alt=\"Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4619-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3437-800x533.jpg\" alt=\"Laff Trax perform at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3437-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laff Trax perform at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3587-800x533.jpg\" alt=\"Aminé performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3587-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4253-800x533.jpg\" alt=\"Courtney Barnett performs at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4253-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett performs at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3639-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3639-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4101-800x533.jpg\" alt=\"Sharon Van Etten performs at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4101-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Van Etten performs at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3745-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3745-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842803\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4054-800x533.jpg\" alt=\"Courtney Barnett backstage at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4054-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett backstage at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4077-800x533.jpg\" alt=\"Shame perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4077-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shame perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3960-800x533.jpg\" alt=\"A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3960-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3507-800x533.jpg\" alt=\"Laff Trax backstage at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3507-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laff Trax backstage at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842817\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4337-800x533.jpg\" alt=\"Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4337-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3710-800x533.jpg\" alt=\"Silk City perform at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3710-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Silk City perform at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4189-800x533.jpg\" alt=\"Lord Huron backstage at Treasure Island Music Festival on Oct. 13, 2018. Lord Huron backstage at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4189-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lord Huron backstage at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3772-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3772-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3406-800x533.jpg\" alt=\"Hiatus Kaiyote backstage at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3406-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote backstage at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3850-800x533.jpg\" alt=\"A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3850-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A$AP Rocky performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13842756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_3468-800x533.jpg\" alt=\"Santigold performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3468-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santigold performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Lapel Makes Smart, Subtle Pop For Rage-Inducing Times",
"headTitle": "Lapel Makes Smart, Subtle Pop For Rage-Inducing Times | KQED",
"content": "\u003cp>At August’s Unite for Justice rally against Brett Kavanaugh’s Supreme Court nomination, San Francisco singer-producer Lapel stood in front of hundreds of demonstrators at San Francisco City Hall to perform her song “Less of a Woman.” The elegant indie pop tune, with a big, soaring hook designed for singing along, offers an affirmation that Lapel never heard growing up, but wishes she had: that whatever choice a woman makes with her body is valid.\u003c/p>\n\u003cp>As Lapel took the stage, exhilarated, a group of older protesters took her by surprise. The women lined up in red robes and white bonnets from \u003cem>The Handmaid’s Tale\u003c/em>, the Margaret Atwood novel and Hulu series where female characters are reduced to birthing machines with no say over their own bodies. The robed women stood in front of the stage ominously, underscoring the rally’s message that, with the newly seated Justice Brett Kavanaugh on the Supreme Court, a woman’s right to an abortion and affordable birth control is in jeopardy.\u003c/p>\n\u003cp>“It was really powerful. The mayor spoke. All these incredible people spoke,” Lapel recalls, still breathless. “When your music can be combined with that, that’s very, very special.”\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=2943810437/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>Lapel, aka Debbie Neigher, makes smart, subtle pop that is informed by her past as a social worker and present as a concerned citizen. Though her music fits just as comfortably at a music festival as does at a protest, she doesn’t package it as a hipster-feminist soundtrack of the #resistance; instead, her warmth and genuine empathy are palpable in the lyrics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lapel’s new, synth-driven indie pop album, \u003cem>Periphery\u003c/em>, works like a conch shell: though pretty and delicate at first, a deeper listen reveals a howling wind of grief and rage. The Kavanaugh confirmation and its surrounding saga—Dr. Christine Blasey Ford’s emotional testimony, the hasty FBI investigation, the female senators submitting their “yes” votes—is a recent source of Neigher’s frustration. When she and I meet for coffee the Monday morning after Kavanaugh was confirmed, she says she’s recovering from a stress-induced cold.\u003c/p>\n\u003cp>“I’ve been telling my friends the patriarchy crushed my immune system,” she says. “I’ve been so angry for weeks.”\u003c/p>\n\u003cp>Lapel’s upcoming release show for \u003cem>Periphery\u003c/em>, a Noise Pop production at San Francisco’s Cafe Du Nord on Oct. 11, is one way she’s taking action. Sales from her merch table benefit Planned Parenthood. The abortion rights advocacy organization \u003ca href=\"https://www.prochoiceamerica.org/\" target=\"_blank\" rel=\"noopener\">NARAL\u003c/a> will also have a table at the show informing concert-goers of volunteer opportunities.\u003c/p>\n\u003cfigure id=\"attachment_13842536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/DSC_5900-800x661.jpg\" alt=\"Lapel. \" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-1020x843.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-1200x991.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-1180x975.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-520x430.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lapel. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neigher’s activist approach to her art stems, in part, from her previous career as an advocate for homeless youth. Upon moving to San Francisco after graduating from Tufts University in 2009, she became an employment counselor at Larkin Street Youth Services, where she also led art and music classes.\u003c/p>\n\u003cp>“It was one of the most incredible experiences of my life that I think totally rewired my brain,” she says. “It taught me how to listen to people. And just like, the resilience and courage of these young people and to know that there’s people like that all over the country is just—you know?”\u003c/p>\n\u003cp>Neigher left social work in 2013 to pursue music full time. She released two piano-driven solo albums under her full name and became a backing vocalist and keyboardist for a variety of local and national indie rock and pop artists, including Ezra Furman, Curls, The Family Crest, Andrew St. James, King Dream, The Sam Chase and the Untraditionals and Kendra McKinley.\u003c/p>\n\u003cp>Neigher, who is classically trained, says she gave herself a “no piano” rule for composing \u003cem>Periphery\u003c/em>, her debut as Lapel. Though the album is a testament to her voice and vision, several collaborators helped her electropop compositions feel dynamic and alive. She enlisted Tiny Telephone Studios’ Beau Sorenson, who has worked with Death Cab for Cutie, Tune-Yards and Superchunk, as a co-producer and “synth wizard.” Jazz Mafia leader Adam Theis lent his expertise to the horn arrangements; KQED \u003ca href=\"https://www.kqed.org/arts/13654262/women-to-watch-minna-choi\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a> alum Minna Choi of Magik*Magik Orchestra composed gorgeous, sweeping string sections.[contextly_sidebar id=”kr3xDAEdow9QnE6D2EtR5jsxUFaREvHQ”]\u003c/p>\n\u003cp>On\u003cem> Periphery\u003c/em>, Neigher processes large-scale social issues, but the album delves into pockets of pain. Much of the album alludes to Neigher’s high school boyfriend, who died of an overdose several years ago. The two had kept in touch; the last time they spoke, he asked Neigher for sheet music to one of her songs.\u003c/p>\n\u003cp>“The title \u003cem>Periphery\u003c/em> has a few meanings, but one of them was that I felt like he and other people battling addiction kind of live on this periphery between life and death,” she says. “[The album] kind of my own personal arc of healing and processing around his death.”\u003c/p>\n\u003cp>On the thumping “Stop Opening the Door,” danceable yet wistful, Lapel wrestles with haunting dreams that remind her of her ex. On “Fumes,” she clings onto fading memories of him: “My memories spit out random pictures like a broken slot machine / Skinny wrists and spotted arms trying so hard to cover me.”\u003c/p>\n\u003cp>As \u003cem>Periphery \u003c/em>traverses personal and political topics, Neigher modulates her voice from quiet whispers to frustrated screams, making audible a quiet, private pain and transforming it into a collective catharsis.\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>\u003cem>Lapel performs at Cafe Du Nord on Oct. 11. Details \u003ca href=\"https://www.swedishamericanhall.com/event/emily-afton-lapel-double-release-show\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At August’s Unite for Justice rally against Brett Kavanaugh’s Supreme Court nomination, San Francisco singer-producer Lapel stood in front of hundreds of demonstrators at San Francisco City Hall to perform her song “Less of a Woman.” The elegant indie pop tune, with a big, soaring hook designed for singing along, offers an affirmation that Lapel never heard growing up, but wishes she had: that whatever choice a woman makes with her body is valid.\u003c/p>\n\u003cp>As Lapel took the stage, exhilarated, a group of older protesters took her by surprise. The women lined up in red robes and white bonnets from \u003cem>The Handmaid’s Tale\u003c/em>, the Margaret Atwood novel and Hulu series where female characters are reduced to birthing machines with no say over their own bodies. The robed women stood in front of the stage ominously, underscoring the rally’s message that, with the newly seated Justice Brett Kavanaugh on the Supreme Court, a woman’s right to an abortion and affordable birth control is in jeopardy.\u003c/p>\n\u003cp>“It was really powerful. The mayor spoke. All these incredible people spoke,” Lapel recalls, still breathless. “When your music can be combined with that, that’s very, very special.”\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=2943810437/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>Lapel, aka Debbie Neigher, makes smart, subtle pop that is informed by her past as a social worker and present as a concerned citizen. Though her music fits just as comfortably at a music festival as does at a protest, she doesn’t package it as a hipster-feminist soundtrack of the #resistance; instead, her warmth and genuine empathy are palpable in the lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lapel’s new, synth-driven indie pop album, \u003cem>Periphery\u003c/em>, works like a conch shell: though pretty and delicate at first, a deeper listen reveals a howling wind of grief and rage. The Kavanaugh confirmation and its surrounding saga—Dr. Christine Blasey Ford’s emotional testimony, the hasty FBI investigation, the female senators submitting their “yes” votes—is a recent source of Neigher’s frustration. When she and I meet for coffee the Monday morning after Kavanaugh was confirmed, she says she’s recovering from a stress-induced cold.\u003c/p>\n\u003cp>“I’ve been telling my friends the patriarchy crushed my immune system,” she says. “I’ve been so angry for weeks.”\u003c/p>\n\u003cp>Lapel’s upcoming release show for \u003cem>Periphery\u003c/em>, a Noise Pop production at San Francisco’s Cafe Du Nord on Oct. 11, is one way she’s taking action. Sales from her merch table benefit Planned Parenthood. The abortion rights advocacy organization \u003ca href=\"https://www.prochoiceamerica.org/\" target=\"_blank\" rel=\"noopener\">NARAL\u003c/a> will also have a table at the show informing concert-goers of volunteer opportunities.\u003c/p>\n\u003cfigure id=\"attachment_13842536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/DSC_5900-800x661.jpg\" alt=\"Lapel. \" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-1020x843.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-1200x991.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-1180x975.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DSC_5900-520x430.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lapel. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neigher’s activist approach to her art stems, in part, from her previous career as an advocate for homeless youth. Upon moving to San Francisco after graduating from Tufts University in 2009, she became an employment counselor at Larkin Street Youth Services, where she also led art and music classes.\u003c/p>\n\u003cp>“It was one of the most incredible experiences of my life that I think totally rewired my brain,” she says. “It taught me how to listen to people. And just like, the resilience and courage of these young people and to know that there’s people like that all over the country is just—you know?”\u003c/p>\n\u003cp>Neigher left social work in 2013 to pursue music full time. She released two piano-driven solo albums under her full name and became a backing vocalist and keyboardist for a variety of local and national indie rock and pop artists, including Ezra Furman, Curls, The Family Crest, Andrew St. James, King Dream, The Sam Chase and the Untraditionals and Kendra McKinley.\u003c/p>\n\u003cp>Neigher, who is classically trained, says she gave herself a “no piano” rule for composing \u003cem>Periphery\u003c/em>, her debut as Lapel. Though the album is a testament to her voice and vision, several collaborators helped her electropop compositions feel dynamic and alive. She enlisted Tiny Telephone Studios’ Beau Sorenson, who has worked with Death Cab for Cutie, Tune-Yards and Superchunk, as a co-producer and “synth wizard.” Jazz Mafia leader Adam Theis lent his expertise to the horn arrangements; KQED \u003ca href=\"https://www.kqed.org/arts/13654262/women-to-watch-minna-choi\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a> alum Minna Choi of Magik*Magik Orchestra composed gorgeous, sweeping string sections.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On\u003cem> Periphery\u003c/em>, Neigher processes large-scale social issues, but the album delves into pockets of pain. Much of the album alludes to Neigher’s high school boyfriend, who died of an overdose several years ago. The two had kept in touch; the last time they spoke, he asked Neigher for sheet music to one of her songs.\u003c/p>\n\u003cp>“The title \u003cem>Periphery\u003c/em> has a few meanings, but one of them was that I felt like he and other people battling addiction kind of live on this periphery between life and death,” she says. “[The album] kind of my own personal arc of healing and processing around his death.”\u003c/p>\n\u003cp>On the thumping “Stop Opening the Door,” danceable yet wistful, Lapel wrestles with haunting dreams that remind her of her ex. On “Fumes,” she clings onto fading memories of him: “My memories spit out random pictures like a broken slot machine / Skinny wrists and spotted arms trying so hard to cover me.”\u003c/p>\n\u003cp>As \u003cem>Periphery \u003c/em>traverses personal and political topics, Neigher modulates her voice from quiet whispers to frustrated screams, making audible a quiet, private pain and transforming it into a collective catharsis.\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>\u003cem>Lapel performs at Cafe Du Nord on Oct. 11. Details \u003ca href=\"https://www.swedishamericanhall.com/event/emily-afton-lapel-double-release-show\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tenants of San Francisco practice space Moss Street Rehearsal Studios received 30-day eviction notices Aug. 13, bringing an end to the business after 35 years. \u003c/p>\n\u003cp>The rehearsal space, located at the corner of Moss and Folsom streets, is a turn-of-the-century Victorian subdivided into eight monthly practice units and one residence for an on-site manager. According to its owner, the space was founded in 1983 by musicians, including one who roadied for the Grateful Dead. \u003c/p>\n\u003cp>Jake Rodriguez, a nine-year Moss St. tenant and an experimental artist who performs as \u003ca href=\"https://branpos.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">bran(…)pos\u003c/a>, described it as the best practice space he’s encountered in the Bay Area. He called the eviction and news of the \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\">Hemlock Tavern’s closure\u003c/a> a “1-2 punch by the Bay.” \u003c/p>\n\u003cp>Groups that have rehearsed at Moss St., which local artists describe as a fixture of San Francisco’s underground rock scene in the 2000s, include Thee Oh Sees, Burmese, Sic Alps, Erase Errata, XBXRX, Total Shutdown, and the Flying Luttenbachers. \u003c/p>\n\u003cp>Pam Dubier, a Sotheby’s realtor specializing in overseas investment and “high-end Northern San Francisco neighborhoods,” according to \u003ca href=\"http://dubiergroup.com/about/\">her website\u003c/a>, bought the building and the business in 2007. The 30-day notices, posted to all occupied units, came from Daniel Bornstein, an attorney known for hosting \u003ca href=\"https://www.sfgate.com/bayarea/article/Lawyer-pumps-up-S-F-landlords-at-boot-camp-5008552.php\" rel=\"noopener\" target=\"_blank\">eviction “boot camps”\u003c/a> for landlords.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dubier told KQED she bought the building because, growing up in New Orleans, she developed an appreciation for local music. But she added that there’s less and less demand for rehearsal space in San Francisco. “The musicians with money have their own studios at home now,” she said. “Unfortunately, a lot of local musicians have had to leave the area.”\u003c/p>\n\u003cp>Dubier said she’s struggled to fill two vacant units: one has been empty for six weeks, the other for three months. But the last post advertising a vacancy on the space’s Facebook page appeared more than a year ago, and local rehearsal space operators—\u003ca href=\"https://www.eastbayexpress.com/oakland/rehearsal-studios-booming-business-sends-mixed-message-about-local-music/Content?oid=16716748\">especially in the East Bay\u003c/a>—say monthly studio demand is the highest it’s been since the early 2000s. \u003c/p>\n\u003cp>For example, the waiting list for lockout units at three-story Oakland Music Complex, the largest space in the Bay Area, boasts more than 150 names, according to management. \u003c/p>\n\u003cp>Asked if 30 days is enough time for her tenants to find another practice space, Dubier brought up nearby Lennon Studios, which has 26 monthly rental units. “They’ve got an option six blocks away,” she said. But Jimmy Crucifix, who manages Lennon’s lockout units, told KQED that they have no lockout vacancies. “It’s really hard to find a monthly space—there’s always demand.” he said. “Right now our list is like 40, 50 pages long.”\u003c/p>\n\u003cp>Crucifix added that he’s already gotten three calls from tenants at Moss Street. “They’re desperate,” he said. “What I tell them is we have storage lockers for gear and that we do hourly, too.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dubier said she’s open to selling the business. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tenants of San Francisco practice space Moss Street Rehearsal Studios received 30-day eviction notices Aug. 13, bringing an end to the business after 35 years. \u003c/p>\n\u003cp>The rehearsal space, located at the corner of Moss and Folsom streets, is a turn-of-the-century Victorian subdivided into eight monthly practice units and one residence for an on-site manager. According to its owner, the space was founded in 1983 by musicians, including one who roadied for the Grateful Dead. \u003c/p>\n\u003cp>Jake Rodriguez, a nine-year Moss St. tenant and an experimental artist who performs as \u003ca href=\"https://branpos.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">bran(…)pos\u003c/a>, described it as the best practice space he’s encountered in the Bay Area. He called the eviction and news of the \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\">Hemlock Tavern’s closure\u003c/a> a “1-2 punch by the Bay.” \u003c/p>\n\u003cp>Groups that have rehearsed at Moss St., which local artists describe as a fixture of San Francisco’s underground rock scene in the 2000s, include Thee Oh Sees, Burmese, Sic Alps, Erase Errata, XBXRX, Total Shutdown, and the Flying Luttenbachers. \u003c/p>\n\u003cp>Pam Dubier, a Sotheby’s realtor specializing in overseas investment and “high-end Northern San Francisco neighborhoods,” according to \u003ca href=\"http://dubiergroup.com/about/\">her website\u003c/a>, bought the building and the business in 2007. The 30-day notices, posted to all occupied units, came from Daniel Bornstein, an attorney known for hosting \u003ca href=\"https://www.sfgate.com/bayarea/article/Lawyer-pumps-up-S-F-landlords-at-boot-camp-5008552.php\" rel=\"noopener\" target=\"_blank\">eviction “boot camps”\u003c/a> for landlords.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dubier told KQED she bought the building because, growing up in New Orleans, she developed an appreciation for local music. But she added that there’s less and less demand for rehearsal space in San Francisco. “The musicians with money have their own studios at home now,” she said. “Unfortunately, a lot of local musicians have had to leave the area.”\u003c/p>\n\u003cp>Dubier said she’s struggled to fill two vacant units: one has been empty for six weeks, the other for three months. But the last post advertising a vacancy on the space’s Facebook page appeared more than a year ago, and local rehearsal space operators—\u003ca href=\"https://www.eastbayexpress.com/oakland/rehearsal-studios-booming-business-sends-mixed-message-about-local-music/Content?oid=16716748\">especially in the East Bay\u003c/a>—say monthly studio demand is the highest it’s been since the early 2000s. \u003c/p>\n\u003cp>For example, the waiting list for lockout units at three-story Oakland Music Complex, the largest space in the Bay Area, boasts more than 150 names, according to management. \u003c/p>\n\u003cp>Asked if 30 days is enough time for her tenants to find another practice space, Dubier brought up nearby Lennon Studios, which has 26 monthly rental units. “They’ve got an option six blocks away,” she said. But Jimmy Crucifix, who manages Lennon’s lockout units, told KQED that they have no lockout vacancies. “It’s really hard to find a monthly space—there’s always demand.” he said. “Right now our list is like 40, 50 pages long.”\u003c/p>\n\u003cp>Crucifix added that he’s already gotten three calls from tenants at Moss Street. “They’re desperate,” he said. “What I tell them is we have storage lockers for gear and that we do hourly, too.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dubier said she’s open to selling the business. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Television Called for Singer-Songwriter Katie Herzig, but Her Heart's in SF",
"headTitle": "Television Called for Singer-Songwriter Katie Herzig, but Her Heart’s in SF | KQED",
"content": "\u003cp>“My new song, ‘Feel Alive,’ is about being in this difficult time and speaking to the hope that it will get better,” says Nashville-based, California-raised singer-songwriter \u003ca href=\"http://www.katieherzig.com/\" target=\"_blank\" rel=\"noopener\">Katie Herzig\u003c/a>. “As I sing the lyrics, it feels like I wrote them for this particular political moment.”\u003c/p>\n\u003cp>Writing songs about relationships, loss and authenticity, Herzig wouldn’t call herself a political artist. Still, she says it’s impossible to separate politics from her music.\u003c/p>\n\u003cfigure id=\"attachment_13839191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-800x1200.jpg\" alt=\"Katie Herzig. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Herzig. \u003ccite>(Courtsy of Katie Herzig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whether it’s climate change or standing up for people who are being compartmentalized, I respond to the world as an artist and speak to the issues I care about,” she says.\u003c/p>\n\u003cp>Herzig’s latest album, \u003cem>Moment of Bliss\u003c/em>, came out in March. It had been four years since the musician, whose songs “Holding Us Back” and “Crazy” have appeared in popular television shows like \u003cem>Grey’s Anatomy\u003c/em> and \u003cem>Big Little Lies\u003c/em>, released a new body of work.\u003c/p>\n\u003cp>In the intervening years, Herzig co-produced singer Ingrid Michaelson’s hit song, “Girls Chase Boys,” which was \u003ca href=\"https://www.glaad.org/blog/video-glaad-interviews-ingrid-michaelson-being-ally-through-music\" target=\"_blank\" rel=\"noopener\">hailed as a beacon of pro-LGBTQ pop\u003c/a> when it climbed the Billboard Hot 100 in 2014. She also continued her TV soundtrack work: in 2016, she wrote the song “Morse Code” for the Netflix show \u003cem>Mr. Peabody & Sherman\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Being an artist, my most blissful times are in the creation and production process,” she says. “Having worked on my album for so long, it’s a relief to finally put the new music out there.”\u003c/p>\n\u003cp>Influenced by artists like Coldplay, Bon Iver and Peter Gabriel, \u003cem>Moment of Bliss\u003c/em> layers Herzig’s angelic vocals with piano, guitar and synthesizers; its mellow pop crosses genres, combining an acoustic, folky sound with sleek electronic production. In preparation for her summer tour, Herzig released an EP in June, \u003cem>Delicate\u003c/em>, which features acoustic reinterpretations of some of her most popular songs, including “Lost and Found” and “Wish You Well.”\u003c/p>\n\u003cp>https://youtu.be/-UrEjDktCmg\u003c/p>\n\u003cp>Now touring in support of her two new projects, Herzig performs in San Francisco on Saturday, Aug. 18, at The Independent. She says playing in the Bay Area is particularly significant to her as an LGBTQ musician.\u003c/p>\n\u003cp>“Every time I tour, I return to San Francisco,” she says. “Because of my history touring and playing in San Francisco with artists who’ve been open about their identities, like Brandi Carlile and Missy Higgins, it’s significant to revisit a city that promotes LGBTQ equality because it’s part of my journey now, too.”\u003c/p>\n\u003cp>While her work has long broached queer themes, Herzig came out only recently by going public with her relationship with Australian singer-songwriter Butterfly Boucher.\u003c/p>\n\u003cp>“Over the past year, deciding to publicly announce who I’m with, I’ve learned that I’m doing it at a time when I have less to lose than those who’ve come before me,” she says. “I know that not everybody has that experience.”\u003c/p>\n\u003cp>https://youtu.be/LINKTcBOFgY\u003c/p>\n\u003cp>Since becoming open with her identity, Herzig’s been surprised to learn how speaking out has supported and encouraged her fans. “We underestimate the power of saying our truths, even when it’s complicated and can’t be explained in one sound bite or sentence,” she says.\u003c/p>\n\u003cp>In light of the Trump administration’s \u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener\">rollbacks of many Obama-era protections of LGBTQ rights\u003c/a>, Herzig’s songs, which champion speaking out and taking pride in one’s authentic self, have taken on new meaning. “On tour, we’re performing old songs like ‘Proud’ and ‘Make a Noise,’ and there are times when I have to hold it together because I feel the impact of the lyrics and how they speak to what we’re going through in this country,” she continues. “I can’t recall a time when I’ve been playing shows where I’m saying something that has such relevance collectively. It’s a very powerful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Katie Herzig performs at The Independent on Aug. 18. Details \u003ca href=\"https://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“My new song, ‘Feel Alive,’ is about being in this difficult time and speaking to the hope that it will get better,” says Nashville-based, California-raised singer-songwriter \u003ca href=\"http://www.katieherzig.com/\" target=\"_blank\" rel=\"noopener\">Katie Herzig\u003c/a>. “As I sing the lyrics, it feels like I wrote them for this particular political moment.”\u003c/p>\n\u003cp>Writing songs about relationships, loss and authenticity, Herzig wouldn’t call herself a political artist. Still, she says it’s impossible to separate politics from her music.\u003c/p>\n\u003cfigure id=\"attachment_13839191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-800x1200.jpg\" alt=\"Katie Herzig. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Herzig. \u003ccite>(Courtsy of Katie Herzig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whether it’s climate change or standing up for people who are being compartmentalized, I respond to the world as an artist and speak to the issues I care about,” she says.\u003c/p>\n\u003cp>Herzig’s latest album, \u003cem>Moment of Bliss\u003c/em>, came out in March. It had been four years since the musician, whose songs “Holding Us Back” and “Crazy” have appeared in popular television shows like \u003cem>Grey’s Anatomy\u003c/em> and \u003cem>Big Little Lies\u003c/em>, released a new body of work.\u003c/p>\n\u003cp>In the intervening years, Herzig co-produced singer Ingrid Michaelson’s hit song, “Girls Chase Boys,” which was \u003ca href=\"https://www.glaad.org/blog/video-glaad-interviews-ingrid-michaelson-being-ally-through-music\" target=\"_blank\" rel=\"noopener\">hailed as a beacon of pro-LGBTQ pop\u003c/a> when it climbed the Billboard Hot 100 in 2014. She also continued her TV soundtrack work: in 2016, she wrote the song “Morse Code” for the Netflix show \u003cem>Mr. Peabody & Sherman\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Being an artist, my most blissful times are in the creation and production process,” she says. “Having worked on my album for so long, it’s a relief to finally put the new music out there.”\u003c/p>\n\u003cp>Influenced by artists like Coldplay, Bon Iver and Peter Gabriel, \u003cem>Moment of Bliss\u003c/em> layers Herzig’s angelic vocals with piano, guitar and synthesizers; its mellow pop crosses genres, combining an acoustic, folky sound with sleek electronic production. In preparation for her summer tour, Herzig released an EP in June, \u003cem>Delicate\u003c/em>, which features acoustic reinterpretations of some of her most popular songs, including “Lost and Found” and “Wish You Well.”\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/-UrEjDktCmg'\n title='//www.youtube.com/embed/-UrEjDktCmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now touring in support of her two new projects, Herzig performs in San Francisco on Saturday, Aug. 18, at The Independent. She says playing in the Bay Area is particularly significant to her as an LGBTQ musician.\u003c/p>\n\u003cp>“Every time I tour, I return to San Francisco,” she says. “Because of my history touring and playing in San Francisco with artists who’ve been open about their identities, like Brandi Carlile and Missy Higgins, it’s significant to revisit a city that promotes LGBTQ equality because it’s part of my journey now, too.”\u003c/p>\n\u003cp>While her work has long broached queer themes, Herzig came out only recently by going public with her relationship with Australian singer-songwriter Butterfly Boucher.\u003c/p>\n\u003cp>“Over the past year, deciding to publicly announce who I’m with, I’ve learned that I’m doing it at a time when I have less to lose than those who’ve come before me,” she says. “I know that not everybody has that experience.”\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/LINKTcBOFgY'\n title='//www.youtube.com/embed/LINKTcBOFgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since becoming open with her identity, Herzig’s been surprised to learn how speaking out has supported and encouraged her fans. “We underestimate the power of saying our truths, even when it’s complicated and can’t be explained in one sound bite or sentence,” she says.\u003c/p>\n\u003cp>In light of the Trump administration’s \u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener\">rollbacks of many Obama-era protections of LGBTQ rights\u003c/a>, Herzig’s songs, which champion speaking out and taking pride in one’s authentic self, have taken on new meaning. “On tour, we’re performing old songs like ‘Proud’ and ‘Make a Noise,’ and there are times when I have to hold it together because I feel the impact of the lyrics and how they speak to what we’re going through in this country,” she continues. “I can’t recall a time when I’ve been playing shows where I’m saying something that has such relevance collectively. It’s a very powerful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Katie Herzig performs at The Independent on Aug. 18. Details \u003ca href=\"https://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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