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"title": "Tired of Club Gigs, John Vanderslice Opts for a Living Room Tour Instead",
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"content": "\u003cp>For a touring musician, the open road can quickly become a drag. One must juggle travel time, performing, shared hotel rooms and an unappetizing array of gas station snacks. The hours between between load-in and showtime require spending time in an unfamiliar watering hole that mostly resembles last night’s watering hole. Musicians are always calculating the thin margin between going for broke and just going broke.\u003c/p>\n\u003cp>It’s a fatiguing cycle that local musician and studio owner John Vanderslice doesn’t miss.\u003c/p>\n\u003cp>“You’re like, ‘Shit, we’re in Norman, Oklahoma on a Monday night, maybe we should flip this other date,'” he says, “And you start playing this chess game, and it’s just too complicated.”\u003c/p>\n\u003cfigure id=\"attachment_13838971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg\" alt=\"\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1200x879.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-960x703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-520x381.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde.jpg 1398w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solitary man: John Vanderslice is looking forward to his solo living room tour. \u003ccite>(Autumn de Wilde)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With over one thousand live performances under his belt, it’s no wonder Vanderslice grew weary of life on the road. He wrapped up his last tour in 2013, following the release of his last two albums, \u003ci>Dagger Beach \u003c/i>and \u003ci>Vanderslice Plays Diamond Dogs\u003c/i>, that same year. With his San Francisco analog recording studio, Tiny Telephone, in high demand, it made sense to call it quits on the touring front and channel his energies into nurturing his business, which expanded into Oakland in 2016 and is now angling at a third location in Los Angeles.\u003c/p>\n\u003cp>After some years away from the stage, Vanderslice found himself missing musician life. He began working on his next album (as yet untitled, due out in spring). And he’s ready to venture out on tour again. This time, he’s avoiding the club scene altogether: instead, all of Vanderslice’s upcoming dates will take place in living rooms across the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The main difference? “When you walk into a bar [for sound check] at 4pm, you’re basically walking into a tomb because there’s no natural light. It smells like stale alcohol, and someone’s playing Thin Lizzy, and you just fry out,” he says. “When you play house shows, you’re in someone’s house. They make cupcakes.”\u003c/p>\n\u003cp>Although house shows are hardly a new concept, one that punk bands, poets and folk troubadours have been utilizing for decades, there aren’t too many artists of Vanderslice’s caliber systematically touring cross-country in nothing but houses. But that trend is beginning to change among veteran indie rock acts, with Clap Your Hands Say Yeah and Tim Kasher of Cursive recently embarking on living room tours on their own.\u003c/p>\n\u003cp>For bands that prefer cozy house show environments over clubs, \u003ca href=\"http://www.undertowmusic.com/\" target=\"_blank\" rel=\"noopener\">Undertow Music\u003c/a>, based in Champaign, Illinois, organizes living room tours for a select roster of artists—an experience Vanderslice has had one other time, in 2013. He embarks on his next tour on Aug. 20, in Chicago and will finish the run on Oct. 3 in New York City—with more dates planned for 2019.\u003c/p>\n\u003cfigure id=\"attachment_13838969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838969\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Vanderslice at Tiny Telephone Oakland. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best known as the artistic home of indie singer-songwriter David Bazan (a.k.a. Pedro the Lion), Undertow has their living room tour booking process down to a science. All ticketing is done in advance; shows only feature the headliner with no opening acts; hosts must apply and are vetted ahead of time by the Undertow staff. The individual artist—though not in charge of booking the entire tour—is tasked with finding willing hosts, and is his or her own sole representative on the premises come showtime.\u003c/p>\n\u003cp>“You’re kind of taking responsibility for the whole night, and it’s really about communicating with people,” Vanderslice explains. “You end up having to be really, really present, so it doesn’t work if you don’t want to do that.”\u003c/p>\n\u003cp>His favorite part? “Usually living rooms sound really good because they’re diffuse. There’s a lot of books, there’s a couch and there’s people, and they’re not reflective. They can just be the most pleasant acoustic environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg\" alt=\"\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1200x844.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1920x1350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Books help make living rooms (and Tiny Telephone Oakland) sound great. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For their role in booking and promotion, Undertow takes 15 percent of the ticket sales (with tickets typically going for $20-$25) and lets the artist keep all of the profits from merch sales, a cut Vanderslice asserts is more than reasonable. Hosts offer their living rooms on a volunteer basis and are compensated with five free tickets for their friends.\u003c/p>\n\u003cp>“We want them to make money,” he points out. “When I had my other booking agent, he would take 10 percent, but he would also take 15 percent of my merch. In Europe, I had two booking agents and one here, so there would go 25 percent, right off the top, and then 15 percent of my merch. At that point, you’re just touring to even stay afloat.”\u003c/p>\n\u003cp>Closer to his Bay Area home, Vanderslice has also performed multiple times on local promoter \u003ca href=\"http://kcturnerpresents.com/\" target=\"_blank\" rel=\"noopener\">KC Turner’s house concert\u003c/a> series, which Turner has been running since 2007. Unlike Undertow, Turner is always on hand, in person, to set up and break down all of the necessary seating and sound equipment for the evening. These concerts have built an enthusiastic following over the years, not least of all from the musicians themselves, many of whom are repeat participants.\u003c/p>\n\u003cp>As his roster of artists continues to grow, Turner has also expanded into listening rooms and clubs across the Bay Area. And though Vanderslice has performed at some of these larger venues, such as HopMonk Tavern in Novato, he couldn’t be more excited to scale back down again for his upcoming living room tour.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would definitely not go back to touring the way I was, with a band in a van and a trailer,” he says. “I just knew when I booked my house tour that this is the only way I want to do it.”\u003c/p>\n\n",
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"excerpt": "The veteran San Francisco indie rocker returns to the road under one condition: house shows only. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a touring musician, the open road can quickly become a drag. One must juggle travel time, performing, shared hotel rooms and an unappetizing array of gas station snacks. The hours between between load-in and showtime require spending time in an unfamiliar watering hole that mostly resembles last night’s watering hole. Musicians are always calculating the thin margin between going for broke and just going broke.\u003c/p>\n\u003cp>It’s a fatiguing cycle that local musician and studio owner John Vanderslice doesn’t miss.\u003c/p>\n\u003cp>“You’re like, ‘Shit, we’re in Norman, Oklahoma on a Monday night, maybe we should flip this other date,'” he says, “And you start playing this chess game, and it’s just too complicated.”\u003c/p>\n\u003cfigure id=\"attachment_13838971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg\" alt=\"\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1200x879.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-960x703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-520x381.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde.jpg 1398w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solitary man: John Vanderslice is looking forward to his solo living room tour. \u003ccite>(Autumn de Wilde)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With over one thousand live performances under his belt, it’s no wonder Vanderslice grew weary of life on the road. He wrapped up his last tour in 2013, following the release of his last two albums, \u003ci>Dagger Beach \u003c/i>and \u003ci>Vanderslice Plays Diamond Dogs\u003c/i>, that same year. With his San Francisco analog recording studio, Tiny Telephone, in high demand, it made sense to call it quits on the touring front and channel his energies into nurturing his business, which expanded into Oakland in 2016 and is now angling at a third location in Los Angeles.\u003c/p>\n\u003cp>After some years away from the stage, Vanderslice found himself missing musician life. He began working on his next album (as yet untitled, due out in spring). And he’s ready to venture out on tour again. This time, he’s avoiding the club scene altogether: instead, all of Vanderslice’s upcoming dates will take place in living rooms across the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The main difference? “When you walk into a bar [for sound check] at 4pm, you’re basically walking into a tomb because there’s no natural light. It smells like stale alcohol, and someone’s playing Thin Lizzy, and you just fry out,” he says. “When you play house shows, you’re in someone’s house. They make cupcakes.”\u003c/p>\n\u003cp>Although house shows are hardly a new concept, one that punk bands, poets and folk troubadours have been utilizing for decades, there aren’t too many artists of Vanderslice’s caliber systematically touring cross-country in nothing but houses. But that trend is beginning to change among veteran indie rock acts, with Clap Your Hands Say Yeah and Tim Kasher of Cursive recently embarking on living room tours on their own.\u003c/p>\n\u003cp>For bands that prefer cozy house show environments over clubs, \u003ca href=\"http://www.undertowmusic.com/\" target=\"_blank\" rel=\"noopener\">Undertow Music\u003c/a>, based in Champaign, Illinois, organizes living room tours for a select roster of artists—an experience Vanderslice has had one other time, in 2013. He embarks on his next tour on Aug. 20, in Chicago and will finish the run on Oct. 3 in New York City—with more dates planned for 2019.\u003c/p>\n\u003cfigure id=\"attachment_13838969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838969\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Vanderslice at Tiny Telephone Oakland. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best known as the artistic home of indie singer-songwriter David Bazan (a.k.a. Pedro the Lion), Undertow has their living room tour booking process down to a science. All ticketing is done in advance; shows only feature the headliner with no opening acts; hosts must apply and are vetted ahead of time by the Undertow staff. The individual artist—though not in charge of booking the entire tour—is tasked with finding willing hosts, and is his or her own sole representative on the premises come showtime.\u003c/p>\n\u003cp>“You’re kind of taking responsibility for the whole night, and it’s really about communicating with people,” Vanderslice explains. “You end up having to be really, really present, so it doesn’t work if you don’t want to do that.”\u003c/p>\n\u003cp>His favorite part? “Usually living rooms sound really good because they’re diffuse. There’s a lot of books, there’s a couch and there’s people, and they’re not reflective. They can just be the most pleasant acoustic environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg\" alt=\"\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1200x844.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1920x1350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Books help make living rooms (and Tiny Telephone Oakland) sound great. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For their role in booking and promotion, Undertow takes 15 percent of the ticket sales (with tickets typically going for $20-$25) and lets the artist keep all of the profits from merch sales, a cut Vanderslice asserts is more than reasonable. Hosts offer their living rooms on a volunteer basis and are compensated with five free tickets for their friends.\u003c/p>\n\u003cp>“We want them to make money,” he points out. “When I had my other booking agent, he would take 10 percent, but he would also take 15 percent of my merch. In Europe, I had two booking agents and one here, so there would go 25 percent, right off the top, and then 15 percent of my merch. At that point, you’re just touring to even stay afloat.”\u003c/p>\n\u003cp>Closer to his Bay Area home, Vanderslice has also performed multiple times on local promoter \u003ca href=\"http://kcturnerpresents.com/\" target=\"_blank\" rel=\"noopener\">KC Turner’s house concert\u003c/a> series, which Turner has been running since 2007. Unlike Undertow, Turner is always on hand, in person, to set up and break down all of the necessary seating and sound equipment for the evening. These concerts have built an enthusiastic following over the years, not least of all from the musicians themselves, many of whom are repeat participants.\u003c/p>\n\u003cp>As his roster of artists continues to grow, Turner has also expanded into listening rooms and clubs across the Bay Area. And though Vanderslice has performed at some of these larger venues, such as HopMonk Tavern in Novato, he couldn’t be more excited to scale back down again for his upcoming living room tour.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would definitely not go back to touring the way I was, with a band in a van and a trailer,” he says. “I just knew when I booked my house tour that this is the only way I want to do it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness",
"headTitle": "Shannon Shaw Ascends from the Warehouse to Rock ‘n’ Roll Greatness | KQED",
"content": "\u003cp>Shannon Shaw traces her love of oldies back to when her dad gave her a cassette of Roy Orbison’s greatest hits when she was eight years old.\u003c/p>\n\u003cp>“We’d listened to it my whole life, in his truck and stuff. But then it became mine,” she recalls, articulating “mine” as if savoring it on her tongue.\u003c/p>\n\u003cp>Raised in Napa County, Shaw remembers sitting in her room, listening to Orbison’s melancholy croon over and over, so regularly that she memorized the exact time it took to rewind back to her favorite songs. She didn’t care for Orbison’s upbeat tunes; instead, she’d act out the lyrics of his lovelorn stuff, like “Crying,” or “Leah,” about a man who drowns while diving for pearls to make a necklace for his love.\u003c/p>\n\u003cp>“That was definitely so melodramatic and had so much emotion,” says Shaw. “And I was such a dramatic kid.”\u003c/p>\n\u003cp>That fixation on tragic love is a hallmark of Shaw’s songwriting for prolific rock ‘n’ roll revivalists Shannon and the Clams, an East Bay mainstay that rose from Oakland’s gritty warehouse scene over the past decade. And now, Shaw’s ability to evoke emotion with her raw, raspy voice is keener than ever on her debut solo album, \u003cem>Shannon in Nashville\u003c/em>, out June 8 on \u003ca href=\"http://www.easyeyesound.com\" target=\"_blank\" rel=\"noopener\">Easy Eye Sound\u003c/a>, the record label owned by Dan Auerbach of the Black Keys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cixEFBfYSOQ\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> gets its name from Dusty Springfield’s \u003cem>Dusty in Memphis\u003c/em>, and it’s steeped in vintage rock ‘n’ roll, blues, soul and pop from the ’50s and ’60s. That time-travel effect is due in large part to the album’s session players, which include drummer Gene Chrisman and keyboardist-percussionist Bobby Wood of the Memphis Boys. (The Memphis Boys were the original house band of the historic American Sound Studio, which hosted recording sessions by many of the era’s stars, like Elvis Presley, Neil Diamond, Orbison and Springfield herself.)\u003c/p>\n\u003cp>Auerbach, who plays guitar on \u003cem>Shannon in Nashville\u003c/em>, orchestrated the ambitious collaboration. After discovering the Clams’ album at a record store, he met Shaw at her show at the Fillmore and invited her to Nashville, Easy Eye Sound’s home base, to record her solo debut. Shaw, who had only recently ascended from playing underground warehouse gigs to headlining clubs and appearing at festivals (Shannon and the Clams are set to perform at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in August), was intimidated by the prospect of the pop-star treatment. The label put her up in Nashville and immediately immersed her in songwriting sessions on a level of professionalism and intricacy removed from her D.I.Y. sessions with the Clams.\u003c/p>\n\u003cp>“I didn’t really know everything that goes into creating the whole vibe and buildup. I come from this weird basement scene where people are teaching themselves to play and to record,” she says. “Whereas Dan totally knows; one of his best skills is to be able to hear all the things going on and knowing when something’s missing, and what thing could elevate another thing. It was impressive to watch these demos I brought in be spun into gold.”\u003c/p>\n\u003cp>The stint in Nashville was a confidence-building exercise for Shaw. Never did she dream—as en eight-year-old listening to Orbison’s greatest hits, or as a 24-year-old learning to play bass—that she would one day be in the studio with some of Orbison’s original players. Although she says she sometimes questioned herself as the only woman and youngest person in the sessions, she committed to playing the part of a confident musician—and eventually internalized the idea that she deserved to be there. (Poking fun at this experience, in the video for the album’s lead single, “Cryin’ My Eyes Out,” Shaw gets into drag and plays every member of her band, including the engineer.)\u003c/p>\n\u003cp>https://youtu.be/fvSql0WV3WI\u003c/p>\n\u003cp>“I had this internal dialogue—obsessive dialogue—to keep my head in the game trying to remind myself to be present and take advantage of the opportunity, and remind myself to be excited and stoked,” she says. “It was weird, like I had not had this much internal conflict and dealing with low self-esteem in so long.”\u003c/p>\n\u003cp>Those traces of self-doubt aren’t audible on \u003cem>Shannon in Nashville\u003c/em>, where Shaw bares herself in emotionally affecting vocal arrangements set to sprightly, retro pop instrumentation—a potent combination that sounds like the soundtrack to shedding a tear on the dance floor. On “Cryin’ My Eyes Out,” a song inspired by her parents’ fraught relationship when she was young, bouncy drums and warbly surf guitar bolster Shaw’s passionate wail of frustration about whether the family dynamic will ever change. On “Cold Pillows,” about the fortitude it takes to walk away from a doomed relationship, a slow, cinematic buildup of doo-wop backing vocals gives way to Shaw’s stinging, cathartic hook.\u003c/p>\n\u003cp>Throughout the album, Shaw demonstrates self-awareness and emotional depth, examining not only heartbreak, but the experience of breaking someone else’s heart and taking accountability for the aftermath. Her sorrowful timbre, learned from all those repeated listens of Roy Orbison years ago, is piercing and stirring, cutting to the heart of her subject matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Shaw borrows from decades past, \u003cem>Shannon in Nashville\u003c/em> is anything but stale and makes a strong case for rock ‘n’ roll’s enduring appeal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shannon Shaw traces her love of oldies back to when her dad gave her a cassette of Roy Orbison’s greatest hits when she was eight years old.\u003c/p>\n\u003cp>“We’d listened to it my whole life, in his truck and stuff. But then it became mine,” she recalls, articulating “mine” as if savoring it on her tongue.\u003c/p>\n\u003cp>Raised in Napa County, Shaw remembers sitting in her room, listening to Orbison’s melancholy croon over and over, so regularly that she memorized the exact time it took to rewind back to her favorite songs. She didn’t care for Orbison’s upbeat tunes; instead, she’d act out the lyrics of his lovelorn stuff, like “Crying,” or “Leah,” about a man who drowns while diving for pearls to make a necklace for his love.\u003c/p>\n\u003cp>“That was definitely so melodramatic and had so much emotion,” says Shaw. “And I was such a dramatic kid.”\u003c/p>\n\u003cp>That fixation on tragic love is a hallmark of Shaw’s songwriting for prolific rock ‘n’ roll revivalists Shannon and the Clams, an East Bay mainstay that rose from Oakland’s gritty warehouse scene over the past decade. And now, Shaw’s ability to evoke emotion with her raw, raspy voice is keener than ever on her debut solo album, \u003cem>Shannon in Nashville\u003c/em>, out June 8 on \u003ca href=\"http://www.easyeyesound.com\" target=\"_blank\" rel=\"noopener\">Easy Eye Sound\u003c/a>, the record label owned by Dan Auerbach of the Black Keys.\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/cixEFBfYSOQ'\n title='//www.youtube.com/embed/cixEFBfYSOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Shannon in Nashville\u003c/em> gets its name from Dusty Springfield’s \u003cem>Dusty in Memphis\u003c/em>, and it’s steeped in vintage rock ‘n’ roll, blues, soul and pop from the ’50s and ’60s. That time-travel effect is due in large part to the album’s session players, which include drummer Gene Chrisman and keyboardist-percussionist Bobby Wood of the Memphis Boys. (The Memphis Boys were the original house band of the historic American Sound Studio, which hosted recording sessions by many of the era’s stars, like Elvis Presley, Neil Diamond, Orbison and Springfield herself.)\u003c/p>\n\u003cp>Auerbach, who plays guitar on \u003cem>Shannon in Nashville\u003c/em>, orchestrated the ambitious collaboration. After discovering the Clams’ album at a record store, he met Shaw at her show at the Fillmore and invited her to Nashville, Easy Eye Sound’s home base, to record her solo debut. Shaw, who had only recently ascended from playing underground warehouse gigs to headlining clubs and appearing at festivals (Shannon and the Clams are set to perform at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in August), was intimidated by the prospect of the pop-star treatment. The label put her up in Nashville and immediately immersed her in songwriting sessions on a level of professionalism and intricacy removed from her D.I.Y. sessions with the Clams.\u003c/p>\n\u003cp>“I didn’t really know everything that goes into creating the whole vibe and buildup. I come from this weird basement scene where people are teaching themselves to play and to record,” she says. “Whereas Dan totally knows; one of his best skills is to be able to hear all the things going on and knowing when something’s missing, and what thing could elevate another thing. It was impressive to watch these demos I brought in be spun into gold.”\u003c/p>\n\u003cp>The stint in Nashville was a confidence-building exercise for Shaw. Never did she dream—as en eight-year-old listening to Orbison’s greatest hits, or as a 24-year-old learning to play bass—that she would one day be in the studio with some of Orbison’s original players. Although she says she sometimes questioned herself as the only woman and youngest person in the sessions, she committed to playing the part of a confident musician—and eventually internalized the idea that she deserved to be there. (Poking fun at this experience, in the video for the album’s lead single, “Cryin’ My Eyes Out,” Shaw gets into drag and plays every member of her band, including the engineer.)\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/fvSql0WV3WI'\n title='//www.youtube.com/embed/fvSql0WV3WI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I had this internal dialogue—obsessive dialogue—to keep my head in the game trying to remind myself to be present and take advantage of the opportunity, and remind myself to be excited and stoked,” she says. “It was weird, like I had not had this much internal conflict and dealing with low self-esteem in so long.”\u003c/p>\n\u003cp>Those traces of self-doubt aren’t audible on \u003cem>Shannon in Nashville\u003c/em>, where Shaw bares herself in emotionally affecting vocal arrangements set to sprightly, retro pop instrumentation—a potent combination that sounds like the soundtrack to shedding a tear on the dance floor. On “Cryin’ My Eyes Out,” a song inspired by her parents’ fraught relationship when she was young, bouncy drums and warbly surf guitar bolster Shaw’s passionate wail of frustration about whether the family dynamic will ever change. On “Cold Pillows,” about the fortitude it takes to walk away from a doomed relationship, a slow, cinematic buildup of doo-wop backing vocals gives way to Shaw’s stinging, cathartic hook.\u003c/p>\n\u003cp>Throughout the album, Shaw demonstrates self-awareness and emotional depth, examining not only heartbreak, but the experience of breaking someone else’s heart and taking accountability for the aftermath. Her sorrowful timbre, learned from all those repeated listens of Roy Orbison years ago, is piercing and stirring, cutting to the heart of her subject matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Shaw borrows from decades past, \u003cem>Shannon in Nashville\u003c/em> is anything but stale and makes a strong case for rock ‘n’ roll’s enduring appeal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, I’m joined on The Do List by Jamedra Brown-Fleischman, co-host of KQED’s pop culture podcast \u003cem>The Cooler\u003c/em>. We’re talking about Nazis influencing famous painters, the challenge in satirizing American politics, and a wild plot to catch a serial killer.\u003c/p>\n\u003cp>\u003cstrong>Through Oct. 28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833315/sfmoma-shows-the-vache-side-of-magritte\" target=\"_blank\" rel=\"noopener\">\u003cem>René Magritte: The Fifth Season\u003c/em> includes the artist’s intentionally “bad” paintings at SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 24-27\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833330/a-bizarre-plot-to-catch-the-real-life-zodiac-killer\" target=\"_blank\" rel=\"noopener\">\u003cem>Please help me I’m drownding\u003c/em>: San Francisco’s dark decade comes to life in a film series at the Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833337/who-needs-vjs-with-the-outoffocus-video-music-fest\" target=\"_blank\" rel=\"noopener\">The fourth annual OutOfFocus Music Video Film Fest at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 31-June 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit\" target=\"_blank\" rel=\"noopener\">Sheer Mag rocks the Ritz in San Jose and the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 1-3\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833278/a-hotly-anticipated-return-for-jon-stewart\" target=\"_blank\" rel=\"noopener\">Clusterfest in San Francisco’s Civic Center brings top stars in comedy, music, podcasting, drag and more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 1-10\u003c/strong>: \u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">The Healdsburg Jazz Festival hosts big names at small venues\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 9\u003c/strong>: \u003ca href=\"http://thefoxoakland.com/events/the-read\" target=\"_blank\" rel=\"noopener\">\u003ci>The Read Live!\u003c/i> with Kid Fury and Crissle at Oakland’s Fox Theater\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833271/flying-lotus-and-little-dragon-will-trip-out-in-berkeley\" target=\"_blank\" rel=\"noopener\">Flying Lotus returns to the Greek Theater in Berkeley\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, I’m joined on The Do List by Jamedra Brown-Fleischman, co-host of KQED’s pop culture podcast \u003cem>The Cooler\u003c/em>. We’re talking about Nazis influencing famous painters, the challenge in satirizing American politics, and a wild plot to catch a serial killer.\u003c/p>\n\u003cp>\u003cstrong>Through Oct. 28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833315/sfmoma-shows-the-vache-side-of-magritte\" target=\"_blank\" rel=\"noopener\">\u003cem>René Magritte: The Fifth Season\u003c/em> includes the artist’s intentionally “bad” paintings at SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 24-27\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833330/a-bizarre-plot-to-catch-the-real-life-zodiac-killer\" target=\"_blank\" rel=\"noopener\">\u003cem>Please help me I’m drownding\u003c/em>: San Francisco’s dark decade comes to life in a film series at the Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833337/who-needs-vjs-with-the-outoffocus-video-music-fest\" target=\"_blank\" rel=\"noopener\">The fourth annual OutOfFocus Music Video Film Fest at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 31-June 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit\" target=\"_blank\" rel=\"noopener\">Sheer Mag rocks the Ritz in San Jose and the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Philadelphia band Sheer Mag channel the classic rock of the ’70s with the mustaches to prove it—and their live shows are out of this world. When I \u003ca href=\"https://www.kqed.org/arts/11525017/live-review-fresh-from-coachella-sheer-mag-proves-theyre-diy-as-ever\" rel=\"noopener\" target=\"_blank\">saw them a few years ago in the lobby of a tattoo shop\u003c/a>, both guys and girls danced topless in the front row.\u003c/p>\n\u003cp>One thing about Sheer Mag is that despite sounding like 1976 Cleveland arena rock, they’re staunchly punk in spirit; they refuse to sign a record deal, they book their own tours, they put out their own records—and I like to think it’s paid off by preserving a lot of the fun that makes them special.\u003c/p>\n\u003cp>\u003cem>Sheer Mag play Thursday, May 31, at the Great American Music Hall in San Francisco, and Friday, June 1, at the Ritz in San Jose. \u003ca href=\"https://www.songkick.com/artists/8333673-sheer-mag\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>Artist Christina Eve has synesthesia, a rare neurological condition that entwines the senses. In Christina Eve’s case, she sees sounds. Last year she sent me a handful of her colorful paintings she made based on music she heard and the visions she had when she listened. I was so fascinated by the way she interprets songs with imagery that I asked her to document the process. You can watch her paint the music of Moses Sumney and Bleachers in the videos below and read her describe what her brain is like on music. – \u003c/em>All Songs Considered\u003cem>‘s \u003c/em>\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>I’d never be a visual artist if I was not first a musician. I have a deep love of music and especially love how a good song can arrest your heart or communicate things for which there are no words. I began studying music as a child and went on to get a degree in classical music. I geek-out over music theory and love the thrill of performing on stage with other musicians. Yet beyond all this, I experience another dimension of music that most do not.\u003c/p>\n\u003cp>I have synesthesia, a neurological phenomenon that involuntarily merges senses in the brain. Auditory stimuli activate my visual sense, so whenever I hear sound I see a unique light and color show. Listening to music is always a remarkable experience as the ears, eyes, heart, and mind are all inundated. For me, music reveals shimmering lights and geometric textures in bright colors, and light and dark swell and spin around each other.\u003c/p>\n\u003cp>As a synesthetic visual artist, I translate what I hear into visible form so others can see the beauty of sound. My artwork begins with a song I’ve fallen in love with, emotionally, aurally, and visually. In the studio, I put the song on loop and listen and watch to see what shapes and colors appear. I pull out corresponding bottles of ink and begin spilling them on the canvas. I blow air into the color, creating a contrasting lightness to the dark, and form the ink into shapes with palette knives and sponges.\u003c/p>\n\u003cp>https://vimeo.com/245458363\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In my work for Bleachers’ “Don’t Take The Money,” I focus on the many sounds contained in the pre-chorus. Each main vocal phrase (“In my dreams, I’m to blame / Different sides of the bed / Roll your eyes, shave my head”) produces rapidly-ascending towers of hot pink and lime-green. The bass, plus the interspersed, digitized backing vocals in lower octaves, provide a dark and bubbly foundation. The percussion and all the fun sounds moving in and out add-in flashes of different hues and textures. I collect all these colors and shape them into what I see in the buildup and hit just before chorus: a staircase-shaped, sunshine-colored explosion.\u003c/p>\n\u003cp>https://vimeo.com/245458956\u003c/p>\n\u003cp>The very first chord of Moses Sumney’s “Doomed” is an oceanic, dark blue paired with a rich vermilion. Moses’ voice is interesting to watch – sometimes it’s a saturated charcoal-black, sometimes it’s a smooth aqua – and that captivating, quick, occasional catch in his voice that sounds like an alto sax… it’s a moment of sandpaper-textured gold. Warm light enters the scene the first time Moses sings “Am I doomed?” As the song progresses, I’m emotionally affected by the sonic expansion and the emotional heaviness of the lyrics, and I incorporate it into the work. The soaring, far-away vocal cries in the background are a writhing purple. At the apex of the song, light pushes back the dark colors, and recedes again as the song draws back into itself.\u003c/p>\n\u003cp>As I’ve continued to create synesthetic artwork, I’ve discovered that much of the aurally-stimulated imagery I see can also effectively communicate other invisible concepts, like joy or despair or loneliness or hope. There are some sounds that produce a distinct type of deep and powerfully evocative imagery and these rich visuals are able to depict difficult ideas and emotions that might be too elusive to paint, or even verbally express. Music is what allows me to create synesthetic artwork, offering a visual voice to the hidden, complex, and inexpressible experiences of humanity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More from Christina Eve can be found \u003ca href=\"https://christinaeveartist.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Synesthetic+Artist+Sees+Sounds+And+Turns+Music+Into+Paintings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area has a rich history of acclaimed musicians drawing from the many musical styles of Latin America. That legacy continues today, with an array of Latinx artists incorporating cumbia, salsa, rumba, reggaeton and Latin rock into their work.\u003c/p>\n\u003cp>This mixtape showcases 11 songs from local artists drawing from Latin music. The diversity of sounds included here is immediately noticeable upon first listen. Even though half of the artists in this mix are inspired in part by cumbia, each folds the genre into their approach in different ways, from \u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>‘s heavy Afro-Colombian work to the prog-y psych of \u003ca href=\"https://www.facebook.com/malagrenasonido/\" target=\"_blank\" rel=\"noopener\">Mala Greña\u003c/a>. Psychedelia also informs the experimental compositions of \u003ca href=\"https://www.almasfronterizas.com/\" target=\"_blank\" rel=\"noopener\">Almas Fronterizas\u003c/a> and the soul- and jazz-inspired \u003ca href=\"http://locotranquilo.com/\" target=\"_blank\" rel=\"noopener\">Loco Tranquilo\u003c/a>, while hip-hop and electronic music influence the music of \u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, \u003ca href=\"http://soltronsf.com/\" target=\"_blank\" rel=\"noopener\">Soltron\u003c/a>, \u003ca href=\"https://www.ginamadrid.com/\" target=\"_blank\" rel=\"noopener\">Gina Madrid\u003c/a> and \u003ca href=\"http://www.bangdata.com/\" target=\"_blank\" rel=\"noopener\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 11 artists spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Tracklist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>, “Sancocho”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Annie Southworth, a beloved local music promoter and tireless advocate for the Bay Area’s artistic underground, died last week after a long, public bout with breast cancer. She was 48.\u003c/p>\n\u003cp>Before her disease made it impossible to work, she promoted shows in San Francisco for two decades, focusing her efforts on supporting up-and-coming bands. She spent years as a talent buyer for Noise Pop, and booked shows at venues such as the Rite Spot and 12 Galaxies. She also worked as an agent for several bands, and is credited with boosting the careers of groups like Thee Oh Sees, The Dodos and the Fresh and Onlys.\u003c/p>\n\u003cp>“[Annie] had a great ear and an even bigger heart,” local talent booker Tony Bedard said. “Her work positively impacted a lot of people’s lives and, most importantly, made San Francisco a fun and exciting place to live.”\u003c/p>\n\u003cp>Born in 1969 and adopted as an infant, Southworth came to the Bay Area from the midwest at a young age, first to San Jose and later to Santa Cruz. Childhood friend Kim Howard says Southworth’s love of show business came early. As children, the two friends performed with a local dance troupe called the Lee Dancers, “a small outfit run by an extraordinarily large woman who sat in a folding chair and stomped her cane to the music as she instructed us,” according to Howard. When the two friends weren’t at practice or dance recitals, they played at a neighbor’s house, where the budding performers had free reign.\u003c/p>\n\u003cfigure id=\"attachment_13826741\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg\" alt=\"Annie Southworth (center) in 2nd Grade\" width=\"800\" height=\"621\" class=\"size-medium wp-image-13826741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth (center) in 2nd Grade \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have many memories of spending weekends making up plays and dressing in costume, singing and pretending to be various characters,” Howard wrote in an email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then Southworth moved to Santa Cruz when she was 11. Howard met up with Southworth again when they were both in high school, and Howard says Southworth had become “so effing cool” she was intimidating.\u003c/p>\n\u003cp>“Her braided hair was bleached from all the sun, she wore surfer clothes and Doc Martens, and she rode a skateboard better than the guys,” Howard wrote. “She took me to a party and knew everyone and wasn’t afraid of anything — it was as if it was HER party. I would learn later that pretty much any party Annie attended WAS her party.” \u003c/p>\n\u003ch2>The Acid Cabaret\u003c/h2>\n\u003cp>By the early ’90s, Southworth lived in San Francisco, and was a regular at local shows and hangouts like the Cassanova Lounge. Her first big entree in show promotion came near the end of the decade, when she started \u003ca href=\"http://www.yaylove.com/happyfun/ass_cab/index.htm\" rel=\"noopener\" target=\"_blank\">the Acid Cabaret\u003c/a> with friend Stephen De Zordo. The event, which De Zrodo hosted as his alter ego “Partyball,” was a “\u003ca href=\"https://www.sfgate.com/music/article/Buzz-Town-hits-New-York-City-and-finds-much-of-2774690.php\" rel=\"noopener\" target=\"_blank\">debacherous, chaotic\u003c/a>” free-form variety show held at venues like the Rite Spot. Southworth co-hosted and handled much of the work behind the scenes. The cabaret went on for years in San Francisco, and in the 2000s it became a popular event at Burning Man. \u003c/p>\n\u003cfigure id=\"attachment_13826745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg\" alt=\"Poster for Acid Cabaret at Burning Man, 2004\" width=\"800\" height=\"1692\" class=\"size-medium wp-image-13826745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-160x338.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-768x1625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1020x2158.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1180x2496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-960x2031.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-240x508.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-375x793.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-520x1100.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Acid Cabaret at Burning Man, 2004 \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For Acid Cabaret at the 2002 Burning Man, we built a fully-functioning, large-tented theater with seats, lights, PA system, a stage, and an upright piano. We opened for business every night for a week, providing hours of impromptu performances of stellar, mind-blowing quality,” Bedard said. “The camp had a reputation and drew in people from all over the festival.”\u003c/p>\n\u003cp>That same year, Southworth, Bedard and others made a TV version of the Acid Cabaret called \u003ci>ACTV\u003c/i> for public access television, which featured several of the cabaret’s best acts. \u003c/p>\n\u003cp>Around the same time, Southworth expanded her promotional work beyond Acid Cabaret to booking shows at the Rite Spot and the 12 Galaxies. Justin Frahm of the acoustic metal cover band Crystal Methestopholes said he learned early why Southworth was a good promoter when she asked him to play her birthday at the newly-opened Hemlock and his band hesitated.\u003c/p>\n\u003cp>“Hesitation was futile, of course, as Annie had that way about her: that mixture of joviality, intimidation, exuberance, and sternness. Of course we would play it, and play it we did,” Frahm said on Facebook. \u003c/p>\n\u003ch2>A Friend to Bands\u003c/h2>\n\u003cp>By the early ’00s, Southworth was acting as an agent for local groups. Southworth had an incredible eye for talent, according to Noise Pop general manager Dawson Ludwig, who said she “had some of the best ears the festival has seen.”\u003c/p>\n\u003cp>Many of the bands she represented saw success. Southworth worked with the Dodos, the Dirty Ghosts and Kelley Stoltz, all of whom received her help at critical career junctions.\u003c/p>\n\u003cp>“Annie Southworth, thanks for being the only person who came to my first show in Paris. For 1,000 other hangs at concerts, and laughs, political discussions and the many glasses of rosé in the wee small hours at the Rite Spot,” Stoltz wrote on Facebook after Southworth’s death. \u003c/p>\n\u003cp>But the band Southworth was most known for representing was Thee Oh Sees, the spastic, psycho-boogie-rock juggernaut helmed by former San Franciscan John Dwyer. Southworth became their agent early in the band’s career, taking over the “thankless job” from Dwyer when he couldn’t keep up with the workload.\u003c/p>\n\u003cfigure id=\"attachment_13826786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg\" alt=\"Southworth and Panache Booking founder Michelle Cable at Coachella 2010\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Southworth and Panache Booking founder Michelle Cable at Coachella 2010 \u003ccite>(Courtesy of Michelle Cable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when everything changed for the band, says Brigid Dawson, former singer of Thee Oh Sees and Southworth’s longtime friend. While Dwyer did well booking their tours, Dawson said it was Southworth’s work that allowed the members of Thee Oh Sees to quit their jobs and focus on the group exclusively.\u003c/p>\n\u003cp>“Once we had Annie fighting in our corner, we saw a big change right away,” Dawson said. “I don’t think John knew his worth as a player or our worth as a band, and I think it was really easy for Annie to take that over and fight for us.”\u003c/p>\n\u003cp>In 2008, Southworth decided to part ways with Leafy Green booking and join forces with her old friend Michelle Cable, who had talent agency called Panache Booking that was just starting out. Looking back, Cable describes the moment as “monumental,” as Southworth brought her bands and her years of experience to the upstart company.\u003c/p>\n\u003cp>“Annie wasn’t some 21-year-old kid. She was an empowered woman,” Cable said. “That really helped me get confident in what I was doing.”\u003c/p>\n\u003cp>Loyal to Southworth, Thee Oh Sees moved to Panache and become one of the agency’s flagship groups. Southworth helped \u003ca href=\"http://www.panacherock.com/artists/\" rel=\"noopener\" target=\"_blank\">Panache\u003c/a> become the agency it is today, with groups like Ty Segall, Mac DeMarco and U.S. Girls on its roster.\u003c/p>\n\u003cfigure id=\"attachment_13826793\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg\" alt=\"Annie Southworth at a 2017 wedding in Mexico\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13826793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth at a 2017 wedding in Mexico \u003ccite>(Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Battle With Cancer\u003c/h2>\n\u003cp>Dwyer says that Southworth revealed her breast cancer diagnosis to him while they were in customs at an airport in Iceland. \u003c/p>\n\u003cp>There’s “never a good time, really” to learn that a friend has cancer, Dwyer wrote in an email. “But that was rough.”\u003c/p>\n\u003cp>Southworth had learned of her cancer months before, but held off on chemotherapy until after her Iceland trip. She planned the vacation with her young niece McKenzie, later described as “like a daughter to her,” so she didn’t cancel. \u003c/p>\n\u003cp>“She never seemed to freak out about how things would turn out,” said close friend Gina Privitere. \u003c/p>\n\u003cp>When she came back and underwent treatment, she realized she couldn’t live on her own anymore. The treatment meant she had to move from her cherished San Francisco to Chico and live with her parents.\u003c/p>\n\u003cp>https://www.instagram.com/p/BcwJorVh7sO\u003c/p>\n\u003cp>Southworth posted regularly on social media about her battle with cancer and all that it entailed — losing her hair, having an appreciation for marijuana and the anxiety she felt when at the doctor’s office. Though outgoing, Southworth was a private person who let few really know her, and yet she was like an open book with her treatment. She also advocated heavily for women to be vigilant about their mammograms. \u003c/p>\n\u003cp>“Annie’s openness about her treatment was touching and helped me personally,” artist and cancer survivor Janelle Hessig said. “We had planned to have a bald headed dinner at Farmhouse Thai when she was able.”\u003c/p>\n\u003cp>But in November of last year, Southworth learned her cancer had spread to her lungs, liver and brain. She posted the news on \u003ca href=\"https://www.facebook.com/anniesouth/posts/10154942062552026\" rel=\"noopener\" target=\"_blank\">social media\u003c/a>, adding that she was still grateful for the life she had.\u003c/p>\n\u003cp>“I know it’s harsh news, but if you can believe it I’m beyond thankful for all the love, care and support my friends and family have afforded me. Every well wish helps, as does every good vibe,” Southworth wrote. \u003c/p>\n\u003cfigure id=\"attachment_13826819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg\" alt=\"Annie Southworth, 2008\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth, 2008 \u003ccite>(Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friends and family bought plane tickets to fulfill her wish for one last vacation in Palm Springs, but she became too sick to go. By the end of February, Southworth was in hospice in Chico. She died, surrounded by her family, on Feb. 27. \u003c/p>\n\u003cp>“My dear friend Annie left us last night, after an heroic battle with cancer. She was an absolute holy terror of a human being, simultaneously warm, generous, hilarious, mischievous, adventurous, and, at all times, full of a vigor that inspired me, and many others, to walk out into the world, and demand it be held to a higher standard,” friend Alexander Johnson \u003ca href=\"https://www.facebook.com/alexander.johnson.336/posts/10214059384711527\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a> on the day of Southworth’s death. \u003c/p>\n\u003cp>“I’ve never met a person with a life force as strong as Annie Southworth, and I’m certain I never will again.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Annie Southworth’s family plans to hold a private memorial. The Rite Spot, where Southworth used to work, is hosting a memorial fundraiser — the first of several planned — on March 16, from 7pm to close. \u003ca href=\"http://www.ritespotcafe.net/calendar.php\" rel=\"noopener\" target=\"_blank\">Details are here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annie Southworth, a beloved local music promoter and tireless advocate for the Bay Area’s artistic underground, died last week after a long, public bout with breast cancer. She was 48.\u003c/p>\n\u003cp>Before her disease made it impossible to work, she promoted shows in San Francisco for two decades, focusing her efforts on supporting up-and-coming bands. She spent years as a talent buyer for Noise Pop, and booked shows at venues such as the Rite Spot and 12 Galaxies. She also worked as an agent for several bands, and is credited with boosting the careers of groups like Thee Oh Sees, The Dodos and the Fresh and Onlys.\u003c/p>\n\u003cp>“[Annie] had a great ear and an even bigger heart,” local talent booker Tony Bedard said. “Her work positively impacted a lot of people’s lives and, most importantly, made San Francisco a fun and exciting place to live.”\u003c/p>\n\u003cp>Born in 1969 and adopted as an infant, Southworth came to the Bay Area from the midwest at a young age, first to San Jose and later to Santa Cruz. Childhood friend Kim Howard says Southworth’s love of show business came early. As children, the two friends performed with a local dance troupe called the Lee Dancers, “a small outfit run by an extraordinarily large woman who sat in a folding chair and stomped her cane to the music as she instructed us,” according to Howard. When the two friends weren’t at practice or dance recitals, they played at a neighbor’s house, where the budding performers had free reign.\u003c/p>\n\u003cfigure id=\"attachment_13826741\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg\" alt=\"Annie Southworth (center) in 2nd Grade\" width=\"800\" height=\"621\" class=\"size-medium wp-image-13826741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth (center) in 2nd Grade \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have many memories of spending weekends making up plays and dressing in costume, singing and pretending to be various characters,” Howard wrote in an email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then Southworth moved to Santa Cruz when she was 11. Howard met up with Southworth again when they were both in high school, and Howard says Southworth had become “so effing cool” she was intimidating.\u003c/p>\n\u003cp>“Her braided hair was bleached from all the sun, she wore surfer clothes and Doc Martens, and she rode a skateboard better than the guys,” Howard wrote. “She took me to a party and knew everyone and wasn’t afraid of anything — it was as if it was HER party. I would learn later that pretty much any party Annie attended WAS her party.” \u003c/p>\n\u003ch2>The Acid Cabaret\u003c/h2>\n\u003cp>By the early ’90s, Southworth lived in San Francisco, and was a regular at local shows and hangouts like the Cassanova Lounge. Her first big entree in show promotion came near the end of the decade, when she started \u003ca href=\"http://www.yaylove.com/happyfun/ass_cab/index.htm\" rel=\"noopener\" target=\"_blank\">the Acid Cabaret\u003c/a> with friend Stephen De Zordo. The event, which De Zrodo hosted as his alter ego “Partyball,” was a “\u003ca href=\"https://www.sfgate.com/music/article/Buzz-Town-hits-New-York-City-and-finds-much-of-2774690.php\" rel=\"noopener\" target=\"_blank\">debacherous, chaotic\u003c/a>” free-form variety show held at venues like the Rite Spot. Southworth co-hosted and handled much of the work behind the scenes. The cabaret went on for years in San Francisco, and in the 2000s it became a popular event at Burning Man. \u003c/p>\n\u003cfigure id=\"attachment_13826745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg\" alt=\"Poster for Acid Cabaret at Burning Man, 2004\" width=\"800\" height=\"1692\" class=\"size-medium wp-image-13826745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-160x338.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-768x1625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1020x2158.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1180x2496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-960x2031.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-240x508.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-375x793.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-520x1100.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Acid Cabaret at Burning Man, 2004 \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For Acid Cabaret at the 2002 Burning Man, we built a fully-functioning, large-tented theater with seats, lights, PA system, a stage, and an upright piano. We opened for business every night for a week, providing hours of impromptu performances of stellar, mind-blowing quality,” Bedard said. “The camp had a reputation and drew in people from all over the festival.”\u003c/p>\n\u003cp>That same year, Southworth, Bedard and others made a TV version of the Acid Cabaret called \u003ci>ACTV\u003c/i> for public access television, which featured several of the cabaret’s best acts. \u003c/p>\n\u003cp>Around the same time, Southworth expanded her promotional work beyond Acid Cabaret to booking shows at the Rite Spot and the 12 Galaxies. Justin Frahm of the acoustic metal cover band Crystal Methestopholes said he learned early why Southworth was a good promoter when she asked him to play her birthday at the newly-opened Hemlock and his band hesitated.\u003c/p>\n\u003cp>“Hesitation was futile, of course, as Annie had that way about her: that mixture of joviality, intimidation, exuberance, and sternness. Of course we would play it, and play it we did,” Frahm said on Facebook. \u003c/p>\n\u003ch2>A Friend to Bands\u003c/h2>\n\u003cp>By the early ’00s, Southworth was acting as an agent for local groups. Southworth had an incredible eye for talent, according to Noise Pop general manager Dawson Ludwig, who said she “had some of the best ears the festival has seen.”\u003c/p>\n\u003cp>Many of the bands she represented saw success. Southworth worked with the Dodos, the Dirty Ghosts and Kelley Stoltz, all of whom received her help at critical career junctions.\u003c/p>\n\u003cp>“Annie Southworth, thanks for being the only person who came to my first show in Paris. For 1,000 other hangs at concerts, and laughs, political discussions and the many glasses of rosé in the wee small hours at the Rite Spot,” Stoltz wrote on Facebook after Southworth’s death. \u003c/p>\n\u003cp>But the band Southworth was most known for representing was Thee Oh Sees, the spastic, psycho-boogie-rock juggernaut helmed by former San Franciscan John Dwyer. Southworth became their agent early in the band’s career, taking over the “thankless job” from Dwyer when he couldn’t keep up with the workload.\u003c/p>\n\u003cfigure id=\"attachment_13826786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg\" alt=\"Southworth and Panache Booking founder Michelle Cable at Coachella 2010\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Southworth and Panache Booking founder Michelle Cable at Coachella 2010 \u003ccite>(Courtesy of Michelle Cable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when everything changed for the band, says Brigid Dawson, former singer of Thee Oh Sees and Southworth’s longtime friend. While Dwyer did well booking their tours, Dawson said it was Southworth’s work that allowed the members of Thee Oh Sees to quit their jobs and focus on the group exclusively.\u003c/p>\n\u003cp>“Once we had Annie fighting in our corner, we saw a big change right away,” Dawson said. “I don’t think John knew his worth as a player or our worth as a band, and I think it was really easy for Annie to take that over and fight for us.”\u003c/p>\n\u003cp>In 2008, Southworth decided to part ways with Leafy Green booking and join forces with her old friend Michelle Cable, who had talent agency called Panache Booking that was just starting out. Looking back, Cable describes the moment as “monumental,” as Southworth brought her bands and her years of experience to the upstart company.\u003c/p>\n\u003cp>“Annie wasn’t some 21-year-old kid. She was an empowered woman,” Cable said. “That really helped me get confident in what I was doing.”\u003c/p>\n\u003cp>Loyal to Southworth, Thee Oh Sees moved to Panache and become one of the agency’s flagship groups. Southworth helped \u003ca href=\"http://www.panacherock.com/artists/\" rel=\"noopener\" target=\"_blank\">Panache\u003c/a> become the agency it is today, with groups like Ty Segall, Mac DeMarco and U.S. Girls on its roster.\u003c/p>\n\u003cfigure id=\"attachment_13826793\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg\" alt=\"Annie Southworth at a 2017 wedding in Mexico\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13826793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth at a 2017 wedding in Mexico \u003ccite>(Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Battle With Cancer\u003c/h2>\n\u003cp>Dwyer says that Southworth revealed her breast cancer diagnosis to him while they were in customs at an airport in Iceland. \u003c/p>\n\u003cp>There’s “never a good time, really” to learn that a friend has cancer, Dwyer wrote in an email. “But that was rough.”\u003c/p>\n\u003cp>Southworth had learned of her cancer months before, but held off on chemotherapy until after her Iceland trip. She planned the vacation with her young niece McKenzie, later described as “like a daughter to her,” so she didn’t cancel. \u003c/p>\n\u003cp>“She never seemed to freak out about how things would turn out,” said close friend Gina Privitere. \u003c/p>\n\u003cp>When she came back and underwent treatment, she realized she couldn’t live on her own anymore. The treatment meant she had to move from her cherished San Francisco to Chico and live with her parents.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Southworth posted regularly on social media about her battle with cancer and all that it entailed — losing her hair, having an appreciation for marijuana and the anxiety she felt when at the doctor’s office. Though outgoing, Southworth was a private person who let few really know her, and yet she was like an open book with her treatment. She also advocated heavily for women to be vigilant about their mammograms. \u003c/p>\n\u003cp>“Annie’s openness about her treatment was touching and helped me personally,” artist and cancer survivor Janelle Hessig said. “We had planned to have a bald headed dinner at Farmhouse Thai when she was able.”\u003c/p>\n\u003cp>But in November of last year, Southworth learned her cancer had spread to her lungs, liver and brain. She posted the news on \u003ca href=\"https://www.facebook.com/anniesouth/posts/10154942062552026\" rel=\"noopener\" target=\"_blank\">social media\u003c/a>, adding that she was still grateful for the life she had.\u003c/p>\n\u003cp>“I know it’s harsh news, but if you can believe it I’m beyond thankful for all the love, care and support my friends and family have afforded me. Every well wish helps, as does every good vibe,” Southworth wrote. \u003c/p>\n\u003cfigure id=\"attachment_13826819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg\" alt=\"Annie Southworth, 2008\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth, 2008 \u003ccite>(Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friends and family bought plane tickets to fulfill her wish for one last vacation in Palm Springs, but she became too sick to go. By the end of February, Southworth was in hospice in Chico. She died, surrounded by her family, on Feb. 27. \u003c/p>\n\u003cp>“My dear friend Annie left us last night, after an heroic battle with cancer. She was an absolute holy terror of a human being, simultaneously warm, generous, hilarious, mischievous, adventurous, and, at all times, full of a vigor that inspired me, and many others, to walk out into the world, and demand it be held to a higher standard,” friend Alexander Johnson \u003ca href=\"https://www.facebook.com/alexander.johnson.336/posts/10214059384711527\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a> on the day of Southworth’s death. \u003c/p>\n\u003cp>“I’ve never met a person with a life force as strong as Annie Southworth, and I’m certain I never will again.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Annie Southworth’s family plans to hold a private memorial. The Rite Spot, where Southworth used to work, is hosting a memorial fundraiser — the first of several planned — on March 16, from 7pm to close. \u003ca href=\"http://www.ritespotcafe.net/calendar.php\" rel=\"noopener\" target=\"_blank\">Details are here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Everything We Loved at Noise Pop 2018",
"headTitle": "Everything We Loved at Noise Pop 2018 | KQED",
"content": "\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"file\" ids=\"13825278,13825589,13825593,13825581,13825573,13825572,13825570,13825566,13825551,13825543,13825542,13825530,13825516,13825515,13825439,13825433,13825423,13825538,13825428,13825418,13825291,13825296,13825290,13825287,13825285,13825276\" orderby=\"rand\"]\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BfjSVjiBKxR/?taken-by=imaneurope\n\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BflslTmFo7m/?hl=en&taken-by=cirrus_oxide\n\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mixtape: Bay Area Musicians to Watch in 2018",
"headTitle": "Mixtape: Bay Area Musicians to Watch in 2018 | KQED",
"content": "\u003cp>The many challenges of 2017 didn’t magically disappear when the year ended, but one bright spot in 2018 is the wealth of emerging Bay Area musicians poised for big breaks. This mix showcases 14 local artists to watch in the coming months, highlighting a variety of genres including hip-hop, electronic pop, folk, and punk.\u003c/p>\n\u003cp>Several of the acts included here released acclaimed projects in 2017. \u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll’s\u003c/a> debut EP, \u003cem>Photograph\u003c/em>, introduced an extremely talented singer-songwriter who had, for years, accumulated countless home recordings but only recently began performing live. \u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a> are getting ready to release a second EP. (Last year’s \u003cem>Sex & Sadness\u003c/em> received an endorsement from Elton John on his radio show.) Oakland rapper \u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> had a similarly accomplished 2017, capped by the launch of the \u003cem>KimSon\u003c/em> EP in October and a nomination for “Rookie of the Year” by \u003ca href=\"http://www.thizzler.com/\">Thizzler\u003c/a>.\u003c/p>\n\u003cp>The mix also showcases several exciting, newer projects from great long-time Bay Area musicians. \u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a> was originally a studio collaboration to support the latest solo recordings of Christopher Owens of Girls, but they eventually emerged as a real band. \u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a> finds local singer-songwriter Debbie Neigher moving away from folk and rock influences, instead exploring a new sound mixing by electronic pop and R&B. And while you might not yet be familiar with the intense post-punk of \u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a> or the thrashy hardcore of \u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, these bands draw talented members from local bands Creative Adult and Scalped, respectively.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 14 artists.\u003c/p>\n\u003ch2>Tracklist\u003c/h2>\n\u003cp>\u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll\u003c/a>, “A Change in Weather”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a>, “Emotion”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rickylakes\" target=\"_blank\" rel=\"noopener\">Ricky Lake\u003c/a>, “Wino”\u003c/p>\n\u003cp>\u003ca href=\"https://spiritualcramp.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spiritual Cramp\u003c/a>, “All My Friends Are Out Tonight (Alright)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ismaymusic/\" target=\"_blank\" rel=\"noopener\">Ismay\u003c/a>, “River of Light (Through the Inland Empire)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/rememberkarenband\" target=\"_blank\" rel=\"noopener\">Remember Karen\u003c/a>, “Afternoon Waking Life”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a>, “Sex & Sadness”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JustRese\" target=\"_blank\" rel=\"noopener\">Just Rese\u003c/a>, “Fluffy Pink Lights”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a>, “Black Sand”\u003c/p>\n\u003cp>\u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, “Demon”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a>, “Less of a Woman”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thesaxophones\" target=\"_blank\" rel=\"noopener\">The Saxophones\u003c/a>, “If You’re On The Water”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cryderman.band/\" target=\"_blank\" rel=\"noopener\">Cryderman\u003c/a>, “Albatross”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a>, “Change The Gloves”\u003c/p>\n\u003cp>\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\n",
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"excerpt": "A playlist of promising new talent in hip-hop, electronic pop, folk, and punk.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The many challenges of 2017 didn’t magically disappear when the year ended, but one bright spot in 2018 is the wealth of emerging Bay Area musicians poised for big breaks. This mix showcases 14 local artists to watch in the coming months, highlighting a variety of genres including hip-hop, electronic pop, folk, and punk.\u003c/p>\n\u003cp>Several of the acts included here released acclaimed projects in 2017. \u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll’s\u003c/a> debut EP, \u003cem>Photograph\u003c/em>, introduced an extremely talented singer-songwriter who had, for years, accumulated countless home recordings but only recently began performing live. \u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a> are getting ready to release a second EP. (Last year’s \u003cem>Sex & Sadness\u003c/em> received an endorsement from Elton John on his radio show.) Oakland rapper \u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> had a similarly accomplished 2017, capped by the launch of the \u003cem>KimSon\u003c/em> EP in October and a nomination for “Rookie of the Year” by \u003ca href=\"http://www.thizzler.com/\">Thizzler\u003c/a>.\u003c/p>\n\u003cp>The mix also showcases several exciting, newer projects from great long-time Bay Area musicians. \u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a> was originally a studio collaboration to support the latest solo recordings of Christopher Owens of Girls, but they eventually emerged as a real band. \u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a> finds local singer-songwriter Debbie Neigher moving away from folk and rock influences, instead exploring a new sound mixing by electronic pop and R&B. And while you might not yet be familiar with the intense post-punk of \u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a> or the thrashy hardcore of \u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, these bands draw talented members from local bands Creative Adult and Scalped, respectively.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 14 artists.\u003c/p>\n\u003ch2>Tracklist\u003c/h2>\n\u003cp>\u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll\u003c/a>, “A Change in Weather”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a>, “Emotion”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rickylakes\" target=\"_blank\" rel=\"noopener\">Ricky Lake\u003c/a>, “Wino”\u003c/p>\n\u003cp>\u003ca href=\"https://spiritualcramp.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spiritual Cramp\u003c/a>, “All My Friends Are Out Tonight (Alright)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ismaymusic/\" target=\"_blank\" rel=\"noopener\">Ismay\u003c/a>, “River of Light (Through the Inland Empire)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/rememberkarenband\" target=\"_blank\" rel=\"noopener\">Remember Karen\u003c/a>, “Afternoon Waking Life”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a>, “Sex & Sadness”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JustRese\" target=\"_blank\" rel=\"noopener\">Just Rese\u003c/a>, “Fluffy Pink Lights”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a>, “Black Sand”\u003c/p>\n\u003cp>\u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, “Demon”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a>, “Less of a Woman”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thesaxophones\" target=\"_blank\" rel=\"noopener\">The Saxophones\u003c/a>, “If You’re On The Water”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cryderman.band/\" target=\"_blank\" rel=\"noopener\">Cryderman\u003c/a>, “Albatross”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a>, “Change The Gloves”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”79oXVmZwflNIO6aIMLgO6FLujd5GvFQe”]\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. 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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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