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"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
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"title": "A Giant of Ethiopian Jazz Meets A Local Musical Ambassador",
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"content": "\u003cp>You may have heard Mulatu Astatke’s music in the Jim Jarmusch film \u003cem>Broken Flowers\u003c/em>, or on various mixtapes and playlists — it’s this hypnotic, pulsing sound that’s hard to forget. The godfather of Ethiopian jazz makes a rare U.S. appearance next Wednesday at the U.C. Theatre in Berkeley, and opening the show is the Bay Area’s own Meklit, who’s been an ambassador for East AFrican music worldwide both as an Ethiopian-born TED fellow and \u003ca href=\"https://ww2.kqed.org/arts/2015/02/17/indelible-music-inspires-new-view-of-countries-connected-by-nile-river/\" target=\"_blank\" rel=\"noopener\">in her touring show The Nile Project\u003c/a>. \u003c/p>\n\u003cp>On the importance of Mulatu’s music, “There’s pretty much no artist who’s had a more greater impact on me,” Meklit says. “Before him, no one had taken American jazz and Ethiopian pentatonic systems and brought them together in one form. He was the pioneer and the innovator in that sound, and in a way, he freed \u003cem>me\u003c/em> to be an innovator.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=weiUAWyy8MY\u003c/p>\n\u003cp>Meklit’s new album of her own, \u003cem>When The People Move, The Music Moves Too\u003c/em>, is \u003ca href=\"https://ww2.kqed.org/arts/2017/05/05/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move/\" target=\"_blank\" rel=\"noopener\">a rhythm-heavy burst of joy\u003c/a>. It’s a great double bill as Meklit opens for Mulatu Astatke at the UC Theatre in Berkeley on Wednesday, Aug. 16 — and it’ll likely sell out. \u003ca href=\"http://www.theuctheatre.org/event/1511562-mulatu-astatke-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have heard Mulatu Astatke’s music in the Jim Jarmusch film \u003cem>Broken Flowers\u003c/em>, or on various mixtapes and playlists — it’s this hypnotic, pulsing sound that’s hard to forget. The godfather of Ethiopian jazz makes a rare U.S. appearance next Wednesday at the U.C. Theatre in Berkeley, and opening the show is the Bay Area’s own Meklit, who’s been an ambassador for East AFrican music worldwide both as an Ethiopian-born TED fellow and \u003ca href=\"https://ww2.kqed.org/arts/2015/02/17/indelible-music-inspires-new-view-of-countries-connected-by-nile-river/\" target=\"_blank\" rel=\"noopener\">in her touring show The Nile Project\u003c/a>. \u003c/p>\n\u003cp>On the importance of Mulatu’s music, “There’s pretty much no artist who’s had a more greater impact on me,” Meklit says. “Before him, no one had taken American jazz and Ethiopian pentatonic systems and brought them together in one form. He was the pioneer and the innovator in that sound, and in a way, he freed \u003cem>me\u003c/em> to be an innovator.”\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/weiUAWyy8MY'\n title='//www.youtube.com/embed/weiUAWyy8MY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meklit’s new album of her own, \u003cem>When The People Move, The Music Moves Too\u003c/em>, is \u003ca href=\"https://ww2.kqed.org/arts/2017/05/05/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move/\" target=\"_blank\" rel=\"noopener\">a rhythm-heavy burst of joy\u003c/a>. It’s a great double bill as Meklit opens for Mulatu Astatke at the UC Theatre in Berkeley on Wednesday, Aug. 16 — and it’ll likely sell out. \u003ca href=\"http://www.theuctheatre.org/event/1511562-mulatu-astatke-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-zahras-picks-hamlet-sings-standing-up-for-books-and-a-desi-comedy-fest",
"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest",
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"content": "\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0e5jPX3ysY8\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nfUkLAvU4t4&t=203s\u003c/p>\n\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjCTIq6JVgU\u003c/p>\n\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AxqYr-9G21o&t=1127s\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\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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"excerpt": "The Do List this week features music from Sun Ra and Rahsaan Roland Kirk, singing from Hamlet, standup comedy and new plays.",
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"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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"headline": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\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/0e5jPX3ysY8'\n title='//www.youtube.com/embed/0e5jPX3ysY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nfUkLAvU4t4'\n title='//www.youtube.com/embed/nfUkLAvU4t4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\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/qjCTIq6JVgU'\n title='//www.youtube.com/embed/qjCTIq6JVgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AxqYr-9G21o'\n title='//www.youtube.com/embed/AxqYr-9G21o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What We Saw at Newport Folk 2017",
"headTitle": "What We Saw at Newport Folk 2017 | KQED",
"content": "\u003cp>Moments of unexpected magic are the Newport Folk Festival’s calling card. The festival typically sells out well before its lineup is even announced — but the official lineup is more of a rough guideline, anyway, since the weekend is peppered every year with surprise performances and collaborations.\u003c/p>\n\u003cp>An unannounced slot at the smallest of Newport’s main stages turned out to belong to Nathaniel Rateliff and The Night Sweats, who played some new music with the Preservation Hall Jazz Band and finished out their set by parading, second-line style, through the enormous crowd that had assembled.\u003c/p>\n\u003cp>Hiss Golden Messenger’s M.C. Taylor assembled a few friends — including Justin Vernon, Phil Cook and Natalie Prass — to perform a tribute to Bill Withers’ music.\u003c/p>\n\u003cp>And master songwriter John Prine, who played Sunday evening’s last set, brought out Vernon, Rateliff, Jim James, Margo Price and Roger Waters, before a stageful of the weekend’s performers gathered to sing “Paradise.”\u003c/p>\n\u003cp>Newport’s most dedicated festivalgoers, affectionately known as the Folk, know to expect surprises like this; they’re what have made Newport Folk Festival one of the country’s most unique and beloved music festivals for almost 60 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR Music’s photographer Adam Kissick is ready for those surprises, too. He spent the weekend chasing them down, traversing the festival grounds at Fort Adams State Park many times over. (We asked him to check his step counter at the end of one day’s work: eight miles.) Below, find some of what we saw at this year’s festival. For some of what we heard, check back over the coming days as we continue to post audio from selected sets. \u003c/p>\n\u003cfigure id=\"attachment_13789409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg\" alt=\"The gates are open — no running!\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13789409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gates are open — no running! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg\" alt=\"Roger Waters and John Prine.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters and John Prine. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg\" alt=\"Nancy And Beth (and Shakey Graves, and Nick Offerman).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy And Beth (and Shakey Graves, and Nick Offerman). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg\" alt=\"Jim James and Preservation Hall Jazz Band.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13789424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-520x345.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim James and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg\" alt=\"Hurray For The Riff Raff.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hurray For The Riff Raff. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg\" alt=\"Angel Olsen\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg\" alt=\"High five!\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">High five! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg\" alt=\"L.A. Salami.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Salami. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg\" alt=\"The Avett Brothers\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg\" alt=\"Rhiannon Giddens\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon Giddens \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg\" alt=\"Chicano Batman\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg\" alt=\"Grandma's Hands (M.C. Taylor and friends).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma’s Hands (M.C. Taylor and friends). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg\" alt=\"Nathaniel Rateliff and Preservation Hall Jazz Band.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathaniel Rateliff and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Sharon Van Etten' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Sharon Van Etten \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg\" alt=\"Jalen N'Gonda\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jalen N’Gonda \u003ccite>(Jalen N'Gonda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg\" alt=\"Robert Ellis\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ellis \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg\" alt=\"Ben Gibbard\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg\" alt=\"Mandolin Orange.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandolin Orange \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg\" alt=\"Wilco and Billy Bragg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilco and Billy Bragg \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Margo Price and Zach Williams' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Margo Price and Zach Williams \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg\" alt=\"It was all a blur\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It was all a blur \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=What+We+Saw+At+Newport+Folk+2017&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Newport Folk Festival is not just a festival — it's an annualized community. Photographer Adam Kissick captured it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moments of unexpected magic are the Newport Folk Festival’s calling card. The festival typically sells out well before its lineup is even announced — but the official lineup is more of a rough guideline, anyway, since the weekend is peppered every year with surprise performances and collaborations.\u003c/p>\n\u003cp>An unannounced slot at the smallest of Newport’s main stages turned out to belong to Nathaniel Rateliff and The Night Sweats, who played some new music with the Preservation Hall Jazz Band and finished out their set by parading, second-line style, through the enormous crowd that had assembled.\u003c/p>\n\u003cp>Hiss Golden Messenger’s M.C. Taylor assembled a few friends — including Justin Vernon, Phil Cook and Natalie Prass — to perform a tribute to Bill Withers’ music.\u003c/p>\n\u003cp>And master songwriter John Prine, who played Sunday evening’s last set, brought out Vernon, Rateliff, Jim James, Margo Price and Roger Waters, before a stageful of the weekend’s performers gathered to sing “Paradise.”\u003c/p>\n\u003cp>Newport’s most dedicated festivalgoers, affectionately known as the Folk, know to expect surprises like this; they’re what have made Newport Folk Festival one of the country’s most unique and beloved music festivals for almost 60 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR Music’s photographer Adam Kissick is ready for those surprises, too. He spent the weekend chasing them down, traversing the festival grounds at Fort Adams State Park many times over. (We asked him to check his step counter at the end of one day’s work: eight miles.) Below, find some of what we saw at this year’s festival. For some of what we heard, check back over the coming days as we continue to post audio from selected sets. \u003c/p>\n\u003cfigure id=\"attachment_13789409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg\" alt=\"The gates are open — no running!\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13789409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gates are open — no running! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg\" alt=\"Roger Waters and John Prine.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters and John Prine. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg\" alt=\"Nancy And Beth (and Shakey Graves, and Nick Offerman).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy And Beth (and Shakey Graves, and Nick Offerman). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg\" alt=\"Jim James and Preservation Hall Jazz Band.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13789424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-520x345.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim James and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg\" alt=\"Hurray For The Riff Raff.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hurray For The Riff Raff. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg\" alt=\"Angel Olsen\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg\" alt=\"High five!\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">High five! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg\" alt=\"L.A. Salami.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Salami. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg\" alt=\"The Avett Brothers\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg\" alt=\"Rhiannon Giddens\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon Giddens \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg\" alt=\"Chicano Batman\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg\" alt=\"Grandma's Hands (M.C. Taylor and friends).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma’s Hands (M.C. Taylor and friends). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg\" alt=\"Nathaniel Rateliff and Preservation Hall Jazz Band.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathaniel Rateliff and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Sharon Van Etten' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Sharon Van Etten \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg\" alt=\"Jalen N'Gonda\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jalen N’Gonda \u003ccite>(Jalen N'Gonda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg\" alt=\"Robert Ellis\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ellis \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg\" alt=\"Ben Gibbard\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg\" alt=\"Mandolin Orange.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandolin Orange \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg\" alt=\"Wilco and Billy Bragg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilco and Billy Bragg \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Margo Price and Zach Williams' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Margo Price and Zach Williams \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg\" alt=\"It was all a blur\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It was all a blur \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=What+We+Saw+At+Newport+Folk+2017&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grandeur' Misses the Haunted Splendor of Gil Scott-Heron",
"headTitle": "‘Grandeur’ Misses the Haunted Splendor of Gil Scott-Heron | KQED",
"content": "\u003cp>At the end of his Dec. 8, 1980 concert in Oakland, Stevie Wonder stepped to the edge of the stage to \u003ca href=\"https://youtu.be/ljhxw3S9wP4\">deliver the news of John Lennon’s murder\u003c/a>. Wonder was eloquent; his impromptu eulogy has the feeling of one God speaking on the demise of another.\u003c/p>\n\u003cp>Standing next to the pop icon on stage that night was a tall, graceful man who also possessed something of the divine in him. Even then, at 31 years of age, Gil Scott-Heron had a haunted splendor. For the multi-talented novelist, poet, proto-rapper, political provocateur and musician, the ensuing years of drug addiction and public exile were just beginning. That haunted look would soon turn into a full-blown ravaging.\u003c/p>\n\u003cp>So I was eagerly anticipating what Han Ong, the award-winning novelist of \u003cem>Fixer Chao\u003c/em> and a playwright with his own shifty sensibility, might do with the figure of Scott-Heron in \u003cem>Grandeur, \u003c/em>a \u003ca href=\"http://magictheatre.org\">Magic Theatre\u003c/a> world premiere. Even the title \u003cem>Grandeur\u003c/em> seems a perfect reflection of the man who gave us both the searing “\u003ca href=\"https://www.youtube.com/watch?v=PtBy_ppG4hY\">Whitey on the Moon\u003c/a>” and the gentle “\u003ca href=\"https://youtu.be/c2LpRlBiqYY\">I Think I’ll Call It Morning\u003c/a>.” With all that rage and beauty roiling in him, I imagine that Ong must have seen in Scott-Heron a kind of modern-day tragic hero of the Greek sort.\u003c/p>\n\u003cfigure id=\"attachment_13398620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg\" alt=\"Gil Scott-Heron (Carl Lumbly) sits in the darkness in 'Grandeur' by Han One.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Scott-Heron (Carl Lumbly) sits in the darkness in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Grandeur\u003c/em> begins, appropriately, in extreme darkness. The stage is as dimly lit as can be, and stays that way for some time. Steve Barron, a young African-American journalist writing for the \u003cem>New York Review of Books, \u003c/em>struggles to find his way to the door of Scott-Heron’s basement apartment. He’s looking to write a career-making article on the fallen musician, whose comeback album, \u003cem>I’m New Here\u003c/em>, has spurred a great deal of interest in the man, his work, and the sorry state of his life.\u003c/p>\n\u003cp>The always-terrific Carl Lumbly nails Scott-Heron’s unmistakable voice and lofty, ambling gait. For a moment, you feel as if you’re in a ghost story — that is, until a tsunami of clichés comes crashing through after about 12 minutes. From then on, you know you’re not watching a play suffused with the spirit of Scott-Heron, but rather a work intent on turning him into a kind of spiritual sitcom dad who does nutty things while dispensing dollops of streetwise wisdom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The uptight, topsider-wearing, haute-bourgeois striver Barron isn’t so much a character as a foil for this version of Scott-Heron to parry a series of well-timed jokes. I’d be lying if I said parts of it weren’t vaguely amusing: Scott-Heron rapping about Fanta soda or coming up with crazy schemes to get Barron to buy him a bit of crack cocaine. Yet Ong’s desire to please is dispiriting, and his skirting around the horrors of addiction is an insult to anyone interested in, or who understands, what it feels like to live in a state of unending despair.\u003c/p>\n\u003cfigure id=\"attachment_13398621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg\" alt=\"(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in 'Grandeur' by Han Ong.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than finding an aesthetic correlative for a stunning life, Ong merely checks off themes. When the portentously named Miss Julie — Scott-Heron’s caretaker and a 42-year old Columbia undergrad with a temper — enters towards the end of the evening, her sole purpose is to make sure that we understand the play’s many lessons. She delivers a number of correctives about race, fame, art, and adulation at the expense of the too-naive Barron and then leaves. It’s as if we’re being reassured that something significant has happened.\u003c/p>\n\u003cp>In these times, it’s hard to think of a more fascinating and emblematic artist than Scott-Heron. His mystery should demand great art. But Ong’s retreat into commercial sitcom aesthetics is just another example of how timid our playwrights and theaters have become. They don’t deserve Gil Scott-Heron — neither the artist nor the junkie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Grandeur’ runs through Sunday, Jun. 25, at the Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org\">Tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Magic Theatre's world premiere about the multitalented, troubled artist unfortunately resorts to clichés and heavy-handed themes. ",
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"title": "'Grandeur' Misses the Haunted Splendor of Gil Scott-Heron | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of his Dec. 8, 1980 concert in Oakland, Stevie Wonder stepped to the edge of the stage to \u003ca href=\"https://youtu.be/ljhxw3S9wP4\">deliver the news of John Lennon’s murder\u003c/a>. Wonder was eloquent; his impromptu eulogy has the feeling of one God speaking on the demise of another.\u003c/p>\n\u003cp>Standing next to the pop icon on stage that night was a tall, graceful man who also possessed something of the divine in him. Even then, at 31 years of age, Gil Scott-Heron had a haunted splendor. For the multi-talented novelist, poet, proto-rapper, political provocateur and musician, the ensuing years of drug addiction and public exile were just beginning. That haunted look would soon turn into a full-blown ravaging.\u003c/p>\n\u003cp>So I was eagerly anticipating what Han Ong, the award-winning novelist of \u003cem>Fixer Chao\u003c/em> and a playwright with his own shifty sensibility, might do with the figure of Scott-Heron in \u003cem>Grandeur, \u003c/em>a \u003ca href=\"http://magictheatre.org\">Magic Theatre\u003c/a> world premiere. Even the title \u003cem>Grandeur\u003c/em> seems a perfect reflection of the man who gave us both the searing “\u003ca href=\"https://www.youtube.com/watch?v=PtBy_ppG4hY\">Whitey on the Moon\u003c/a>” and the gentle “\u003ca href=\"https://youtu.be/c2LpRlBiqYY\">I Think I’ll Call It Morning\u003c/a>.” With all that rage and beauty roiling in him, I imagine that Ong must have seen in Scott-Heron a kind of modern-day tragic hero of the Greek sort.\u003c/p>\n\u003cfigure id=\"attachment_13398620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg\" alt=\"Gil Scott-Heron (Carl Lumbly) sits in the darkness in 'Grandeur' by Han One.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Scott-Heron (Carl Lumbly) sits in the darkness in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Grandeur\u003c/em> begins, appropriately, in extreme darkness. The stage is as dimly lit as can be, and stays that way for some time. Steve Barron, a young African-American journalist writing for the \u003cem>New York Review of Books, \u003c/em>struggles to find his way to the door of Scott-Heron’s basement apartment. He’s looking to write a career-making article on the fallen musician, whose comeback album, \u003cem>I’m New Here\u003c/em>, has spurred a great deal of interest in the man, his work, and the sorry state of his life.\u003c/p>\n\u003cp>The always-terrific Carl Lumbly nails Scott-Heron’s unmistakable voice and lofty, ambling gait. For a moment, you feel as if you’re in a ghost story — that is, until a tsunami of clichés comes crashing through after about 12 minutes. From then on, you know you’re not watching a play suffused with the spirit of Scott-Heron, but rather a work intent on turning him into a kind of spiritual sitcom dad who does nutty things while dispensing dollops of streetwise wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The uptight, topsider-wearing, haute-bourgeois striver Barron isn’t so much a character as a foil for this version of Scott-Heron to parry a series of well-timed jokes. I’d be lying if I said parts of it weren’t vaguely amusing: Scott-Heron rapping about Fanta soda or coming up with crazy schemes to get Barron to buy him a bit of crack cocaine. Yet Ong’s desire to please is dispiriting, and his skirting around the horrors of addiction is an insult to anyone interested in, or who understands, what it feels like to live in a state of unending despair.\u003c/p>\n\u003cfigure id=\"attachment_13398621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg\" alt=\"(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in 'Grandeur' by Han Ong.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than finding an aesthetic correlative for a stunning life, Ong merely checks off themes. When the portentously named Miss Julie — Scott-Heron’s caretaker and a 42-year old Columbia undergrad with a temper — enters towards the end of the evening, her sole purpose is to make sure that we understand the play’s many lessons. She delivers a number of correctives about race, fame, art, and adulation at the expense of the too-naive Barron and then leaves. It’s as if we’re being reassured that something significant has happened.\u003c/p>\n\u003cp>In these times, it’s hard to think of a more fascinating and emblematic artist than Scott-Heron. His mystery should demand great art. But Ong’s retreat into commercial sitcom aesthetics is just another example of how timid our playwrights and theaters have become. They don’t deserve Gil Scott-Heron — neither the artist nor the junkie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Grandeur’ runs through Sunday, Jun. 25, at the Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org\">Tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With a Little Help From Charlie Parker, Rudresh Mahanthappa Carves a New Path in Jazz",
"headTitle": "With a Little Help From Charlie Parker, Rudresh Mahanthappa Carves a New Path in Jazz | KQED",
"content": "\u003cp>While growing up in Boulder, Colo., Rudresh Mahanthappa received two or three records from his music teacher every week. They were intended for the student to ponder between lessons, and it was thanks to those records that he first internalized prog rock, metal and the many iterations of jazz.\u003c/p>\n\u003cp>But unlike a teenager shopping in the different sections at Tower Records, for example, Mahanthappa didn’t come to the music with labels already affixed to the sounds — all he knew was whether or not the music spoke to him.\u003c/p>\n\u003cp>“I knew what I liked and what I didn’t like,” explains the saxophonist, who kicks off San Jose Jazz’s Fall Concert Series with a performance at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Cafe Stritch\u003c/a> Oct. 16. \u003cem>“\u003c/em>I really liked Ornette Coleman. I really liked Charlie Parker. I thought they both played saxophone and they both played jazz — eventually. It never occurred to me that one was free jazz and one was bebop until I went to college. I just thought of music as a wider continuum, and that’s something that I always try to think about.”\u003c/p>\n\u003cp>With the help of that wide-open musical spirit, Mahanthappa has since carved out a two-decade long career in jazz. Perhaps nowhere is it more apparent than on \u003cem>Bird Calls\u003c/em>, his widely-acclaimed 2015 release that honors saxophonist Charlie Parker, one of jazz’s all-time greats — and one of Mahanthappa’s early heroes.\u003c/p>\n\u003cp>https://youtu.be/9z50Hn8npEw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the album has been widely noted for its connection to Parker, it’s hardly what one would call a tribute album. Instead of curating a collection of Parker tunes to revisit, Mahanthappa chose instead to snag melodic bits and pieces from Parker songs and integrate them into his own compositions. It’s an approach similar to that of a hip-hop producer, sampling a song segment as a foundation on which to build, although Mahanthappa notes the references sometimes go unnoticed unless pointed out.\u003c/p>\n\u003cp>“I would rather people not be so concerned with the source, but just trust that’s what’s at play,” he says. “For me to do an album of Charlie Parker tunes, that would not be really giving Charlie Parker’s legacy its due, as far as I’m concerned. The best way we pay tribute to anybody is to show what we’ve learned [from them].”\u003c/p>\n\u003cp>That sentiment resonated with San Jose Jazz Executive Director Brendan Rawson, who admits the organization has tried repeatedly and unsuccessfully to bring the busy saxophonist to the South Bay. He was overjoyed when the dates finally lined up, especially in time to kick off a new slate of fall concerts.\u003c/p>\n\u003cp>“It made a lot of sense as a keystone for this series,” notes Rawson, in reference to Mahanthappa’s upcoming set. “I see him as one of those leading-edge jazz artists [who’s] always continuing to push.”\u003c/p>\n\u003cp>Throughout his career, Mahanthappa has chosen to focus on crafting original work rather than integrating standards into his repertoire — though the latter, he says, is something many jazz fans feel is integral to engaging with the tradition. He says the stance has led to some of his work flying under the jazz radar; he still questions whether or not he’s been fully accepted by the jazz community.\u003c/p>\n\u003cp>https://youtu.be/58KepbLWzus\u003c/p>\n\u003cp>He’s also encountered similar issues navigating the jazz world as an Indian American, a path that, when he was studying as a young man, offered no blueprint for success. He recalls his early struggles performing with close friend Vijay Iyer, a pianist and fellow Indian-American who’s received similar accolades for his jazz work in recent years. In early interviews, journalists would often ask the pair if they indeed made music full-time.\u003c/p>\n\u003cp>He’s quick to note, however, that “over the last seven or eight years, we’re more thought of as being part of the larger jazz community.” Most recently, that acceptance has led him to Princeton University, where this fall he began his first term as the school’s Director of Jazz.\u003c/p>\n\u003cp>“I would like to think that we’ve made it a viable option for a lot of people to pursue what had been considered non-traditional career paths for Indian Americans,” he says, “to get outside of being doctors and computer scientists and these things we’re stereotyped as doing.”\u003c/p>\n\u003cp>In addition to Mahanthappa, San Jose Jazz’s Fall Concert series will feature \u003ca href=\"https://sanjosejazz.org/artist/mariachi-flor-de-toloache/\">Mariachi Flor de Toloache\u003c/a>, a New York-based, all-female mariachi group, and Pakistan-born, Los Angeles-raised guitarist \u003ca href=\"https://sanjosejazz.org/artist/rez-abbasi-junction/\">Rez Abbasi\u003c/a>. Asked if presenting such culturally diverse programming was an intentional move to target the diverse demographics of the South Bay, Rawson chalked the pairings to coincidence: “I’m not so sure it’s as much wanting to program to these different communities as it is a reflection of where a lot of exciting music is at.”\u003c/p>\n\u003cp>Referring to Mahanthappa and Abbasi specifically, Rawson notes the two are “American artists who have this connection to the musical heritage of their parents, but they were brought up in the American jazz education realm. They’re approaching their music from that vantage point.”\u003c/p>\n\u003cp>We may still be referring to the work of artists like Mahanthappa and Abbasi with their cultural ancestry as a focal point since such voices are new to the jazz tradition, but as Rawson points out, they’re both children of America. Despite what many assume, Mahanthappa was exposed very little to Indian music growing up. Back then, he was listening to \u003cem>Winelight\u003c/em> by Grover Washington Jr. and \u003cem>Voyeur \u003c/em>by David Sanborn. He still boasts that he knows every Men at Work and Supertramp sax solo.\u003c/p>\n\u003cp>“That ‘hyphen-American’ identity is still pretty young in this country, and jazz being such a viable way to communicate that is very valuable,” concludes Mahanthappa. “Any way that I can help push that along is great.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>\n\u003cp>\u003cem>Rudresh Manthappa performs Sunday, Oct. 16, 2016 at Cafe Stritch in downtown San Jose. Tickets and more info at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Sanjosejazz.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Acceptance in traditional jazz circles hasn't come easy to the Indian-American saxophonist, who kicks off San Jose Jazz’s Fall Concert Series Oct. 16. Good thing he's far more interested in pushing boundaries. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While growing up in Boulder, Colo., Rudresh Mahanthappa received two or three records from his music teacher every week. They were intended for the student to ponder between lessons, and it was thanks to those records that he first internalized prog rock, metal and the many iterations of jazz.\u003c/p>\n\u003cp>But unlike a teenager shopping in the different sections at Tower Records, for example, Mahanthappa didn’t come to the music with labels already affixed to the sounds — all he knew was whether or not the music spoke to him.\u003c/p>\n\u003cp>“I knew what I liked and what I didn’t like,” explains the saxophonist, who kicks off San Jose Jazz’s Fall Concert Series with a performance at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Cafe Stritch\u003c/a> Oct. 16. \u003cem>“\u003c/em>I really liked Ornette Coleman. I really liked Charlie Parker. I thought they both played saxophone and they both played jazz — eventually. It never occurred to me that one was free jazz and one was bebop until I went to college. I just thought of music as a wider continuum, and that’s something that I always try to think about.”\u003c/p>\n\u003cp>With the help of that wide-open musical spirit, Mahanthappa has since carved out a two-decade long career in jazz. Perhaps nowhere is it more apparent than on \u003cem>Bird Calls\u003c/em>, his widely-acclaimed 2015 release that honors saxophonist Charlie Parker, one of jazz’s all-time greats — and one of Mahanthappa’s early heroes.\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/9z50Hn8npEw'\n title='//www.youtube.com/embed/9z50Hn8npEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the album has been widely noted for its connection to Parker, it’s hardly what one would call a tribute album. Instead of curating a collection of Parker tunes to revisit, Mahanthappa chose instead to snag melodic bits and pieces from Parker songs and integrate them into his own compositions. It’s an approach similar to that of a hip-hop producer, sampling a song segment as a foundation on which to build, although Mahanthappa notes the references sometimes go unnoticed unless pointed out.\u003c/p>\n\u003cp>“I would rather people not be so concerned with the source, but just trust that’s what’s at play,” he says. “For me to do an album of Charlie Parker tunes, that would not be really giving Charlie Parker’s legacy its due, as far as I’m concerned. The best way we pay tribute to anybody is to show what we’ve learned [from them].”\u003c/p>\n\u003cp>That sentiment resonated with San Jose Jazz Executive Director Brendan Rawson, who admits the organization has tried repeatedly and unsuccessfully to bring the busy saxophonist to the South Bay. He was overjoyed when the dates finally lined up, especially in time to kick off a new slate of fall concerts.\u003c/p>\n\u003cp>“It made a lot of sense as a keystone for this series,” notes Rawson, in reference to Mahanthappa’s upcoming set. “I see him as one of those leading-edge jazz artists [who’s] always continuing to push.”\u003c/p>\n\u003cp>Throughout his career, Mahanthappa has chosen to focus on crafting original work rather than integrating standards into his repertoire — though the latter, he says, is something many jazz fans feel is integral to engaging with the tradition. He says the stance has led to some of his work flying under the jazz radar; he still questions whether or not he’s been fully accepted by the jazz community.\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/58KepbLWzus'\n title='//www.youtube.com/embed/58KepbLWzus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also encountered similar issues navigating the jazz world as an Indian American, a path that, when he was studying as a young man, offered no blueprint for success. He recalls his early struggles performing with close friend Vijay Iyer, a pianist and fellow Indian-American who’s received similar accolades for his jazz work in recent years. In early interviews, journalists would often ask the pair if they indeed made music full-time.\u003c/p>\n\u003cp>He’s quick to note, however, that “over the last seven or eight years, we’re more thought of as being part of the larger jazz community.” Most recently, that acceptance has led him to Princeton University, where this fall he began his first term as the school’s Director of Jazz.\u003c/p>\n\u003cp>“I would like to think that we’ve made it a viable option for a lot of people to pursue what had been considered non-traditional career paths for Indian Americans,” he says, “to get outside of being doctors and computer scientists and these things we’re stereotyped as doing.”\u003c/p>\n\u003cp>In addition to Mahanthappa, San Jose Jazz’s Fall Concert series will feature \u003ca href=\"https://sanjosejazz.org/artist/mariachi-flor-de-toloache/\">Mariachi Flor de Toloache\u003c/a>, a New York-based, all-female mariachi group, and Pakistan-born, Los Angeles-raised guitarist \u003ca href=\"https://sanjosejazz.org/artist/rez-abbasi-junction/\">Rez Abbasi\u003c/a>. Asked if presenting such culturally diverse programming was an intentional move to target the diverse demographics of the South Bay, Rawson chalked the pairings to coincidence: “I’m not so sure it’s as much wanting to program to these different communities as it is a reflection of where a lot of exciting music is at.”\u003c/p>\n\u003cp>Referring to Mahanthappa and Abbasi specifically, Rawson notes the two are “American artists who have this connection to the musical heritage of their parents, but they were brought up in the American jazz education realm. They’re approaching their music from that vantage point.”\u003c/p>\n\u003cp>We may still be referring to the work of artists like Mahanthappa and Abbasi with their cultural ancestry as a focal point since such voices are new to the jazz tradition, but as Rawson points out, they’re both children of America. Despite what many assume, Mahanthappa was exposed very little to Indian music growing up. Back then, he was listening to \u003cem>Winelight\u003c/em> by Grover Washington Jr. and \u003cem>Voyeur \u003c/em>by David Sanborn. He still boasts that he knows every Men at Work and Supertramp sax solo.\u003c/p>\n\u003cp>“That ‘hyphen-American’ identity is still pretty young in this country, and jazz being such a viable way to communicate that is very valuable,” concludes Mahanthappa. “Any way that I can help push that along is great.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>\n\u003cp>\u003cem>Rudresh Manthappa performs Sunday, Oct. 16, 2016 at Cafe Stritch in downtown San Jose. Tickets and more info at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Sanjosejazz.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz",
"headTitle": "Rhumba, Funk, and Rahsaan, Oh My! San Jose is Full of Jazz | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A variety of jazz, blues and world music across 13 stages\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 6 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rashaan Roland Kirk Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A celebration of legendary jazz saxophonist Rahsaan Roland Kirk\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 4 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cafe Stritch\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Con Brio is having a moment. The San Francisco soul band landed the challenging and high profile assignment of opening up San Jose Jazz’s\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> Summer Fest \u003c/a>on the main stage Friday afternoon at the north end of the Plaza de Cesar Chavez. Ziek McCarter, Con Brio’s dynamic lead vocalist and snake-hipped guiding spirit, did his best to spark the weekend-long street party, and by the end of the 80-minute set he could be proud of a job well done. \u003c/p>\n\u003cp>Summer Fest kicks into frenzy mode around noon Saturday, with 13 stages and half a dozen acts performing simultaneously in venues and stages arrayed around the plaza through Sunday night. Friday’s more limited offerings set the mood for the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_10885344\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg\" alt=\"Con Brio\" width=\"735\" height=\"600\" class=\"size-medium wp-image-10885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2.jpg 800w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sleek and sinewy funk/disco combo that makes the most of its six-piece instrumentation, Con Brio rides on the buoyant crest of Benjamin Andrews’ relentlessly grooving rhythm guitar. With a beseeching tenor that floats effortlessly up to a silky smooth falsetto, McCarter occupies the uncrowded sweet-end of the soul vocal spectrum. Egalitarian in outlook and decidedly anti-materialist in sensibility, Con Brio purveys San Francisco R&B, though they’re half a hook away from breaking out of the Bay Area. The band’s best songs, like the anthem “Never Going to be the Same,” sound like half-forgotten hits from 1978 (the band’s moment continues this weekend when Con Brio opens for Morris Day and the Time at Stern Grove on Sunday afternoon).\u003c/p>\n\u003cp>Strolling down 1\u003csup>st\u003c/sup> Street, Summer Fest and San Jose’s First Friday street party converged for the first time, and the air was suddenly charged with the sound of pure rhumba. San Jose Jazz has always put Afro-Caribbean music at the center of the festival, but this was something new and extraordinary, as Cuban conguero Jesus Diaz led an all-star rhumba session from the back of SJZ Boom Box Stage (a box truck with the side cut out and painted to look like a giant boom box). It was like stumbling into a street corner gathering in Havana, with Diaz and vocalist Fito Reynoso delivering invocations accompanied by a conga battery including unbilled percussion master Michael Spiro\u003c/p>\n\u003cp>So where was the jazz happening? On Friday, the prime spot was also on First Street, where Café Stritch was in the midst of the third annual Rahsaanathon, a mini-festival that parallels but isn’t officially part of Summer Fest, and summons the spirit of the singular horn player, composer, and bandleader Rahsaan Roland Kirk.\u003c/p>\n\u003cfigure id=\"attachment_10885346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-800x534.jpg\" alt=\"Jesus Diaz\" width=\"800\" height=\"534\" class=\"size-medium wp-image-10885346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Diaz \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday was the second of three nights featuring East Bay-raised trombonist Steve Turre, a fixture on the New York scene for some four decades who spent his formative years playing with Kirk on Bay Area stages. Turre has presented Kirk’s music around the world, but Café Stritch has quickly become his Rahsaanian homebase.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating the occasion of Kirk’s 80\u003csup>th\u003c/sup> birthday (1935-1977), Turre’s Eulipion All-Stars feature Oakland-raised New York drummer Darrell Green, bassist Marcus Shelby, pianist Matt Clark, alto and soprano saxophonist Charles McNeal (who is much missed in the Bay Area since relocating to Las Vegas), and protean multi-instrumentalist James Carter (who also plays a quartet show with the same rhythm section at Stritch on Sunday). \u003c/p>\n\u003cp>Kirk wrote memorable themes that embodied his tragic, ecstatic and supremely humane sensibility, like the episodic “Three For the Festival” and sassy “Dorthaan’s Walk,” and the Eulipion All-Stars engaged fully with the music’s unruly, emotionally charged spirit.\u003c/p>\n\u003cfigure id=\"attachment_10885347\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tower-of-Power-800x517.jpg\" alt=\"Tower of Power at San Jose Jazz’s Summer Fest\" width=\"800\" height=\"517\" class=\"size-medium wp-image-10885347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power-400x259.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power at San Jose Jazz’s Summer Fest \u003ccite>(Courtesy of San Jose Jazz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As on the previous Rahsaanathons, the ageless poet Betty Neals was on hand to recite her verse she recorded with Kirk on his album classic 1976 \u003cem>The Return of the 5000 lb Man\u003c/em>, providing the evening with a true benediction (a blessing amplified by Kirk’s widow Dorthaan Kirk, who was also in the house). And powerhouse blues and jazz singer Terrie Odabi infused the Eulipion theme with a regal and earthy air (she headlines her own show at Yoshi’s on Sept. 8). Around midnight Café Stritch’s Steve Borkenhagen presented Carter with Kirk’s reconditioned namesake Stritch, a straight alto with a keening tone, adding another layer to the Kirkian communion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the best festivals leave you exhilarated by music you experienced and frustrated by the acts you missed, Summer Fest and the Rahsaanathon deserve their reputations as being some of the Bay Area’s essential cultural events. For Saturday, bring on the Brazilians with Letieres Leite and Orchestra Rumpilezz!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Jose Jazz Summer Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A variety of jazz, blues and world music across 13 stages\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 6 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rashaan Roland Kirk Fest\u003c/h2>\n\u003cdiv class=\"event-desc\">A celebration of legendary jazz saxophonist Rahsaan Roland Kirk\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 4 – 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cafe Stritch\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rashaan-roland-kirk-fest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Con Brio is having a moment. The San Francisco soul band landed the challenging and high profile assignment of opening up San Jose Jazz’s\u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> Summer Fest \u003c/a>on the main stage Friday afternoon at the north end of the Plaza de Cesar Chavez. Ziek McCarter, Con Brio’s dynamic lead vocalist and snake-hipped guiding spirit, did his best to spark the weekend-long street party, and by the end of the 80-minute set he could be proud of a job well done. \u003c/p>\n\u003cp>Summer Fest kicks into frenzy mode around noon Saturday, with 13 stages and half a dozen acts performing simultaneously in venues and stages arrayed around the plaza through Sunday night. Friday’s more limited offerings set the mood for the proceedings.\u003c/p>\n\u003cfigure id=\"attachment_10885344\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg\" alt=\"Con Brio\" width=\"735\" height=\"600\" class=\"size-medium wp-image-10885344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Con-Brio-2.jpg 800w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sleek and sinewy funk/disco combo that makes the most of its six-piece instrumentation, Con Brio rides on the buoyant crest of Benjamin Andrews’ relentlessly grooving rhythm guitar. With a beseeching tenor that floats effortlessly up to a silky smooth falsetto, McCarter occupies the uncrowded sweet-end of the soul vocal spectrum. Egalitarian in outlook and decidedly anti-materialist in sensibility, Con Brio purveys San Francisco R&B, though they’re half a hook away from breaking out of the Bay Area. The band’s best songs, like the anthem “Never Going to be the Same,” sound like half-forgotten hits from 1978 (the band’s moment continues this weekend when Con Brio opens for Morris Day and the Time at Stern Grove on Sunday afternoon).\u003c/p>\n\u003cp>Strolling down 1\u003csup>st\u003c/sup> Street, Summer Fest and San Jose’s First Friday street party converged for the first time, and the air was suddenly charged with the sound of pure rhumba. San Jose Jazz has always put Afro-Caribbean music at the center of the festival, but this was something new and extraordinary, as Cuban conguero Jesus Diaz led an all-star rhumba session from the back of SJZ Boom Box Stage (a box truck with the side cut out and painted to look like a giant boom box). It was like stumbling into a street corner gathering in Havana, with Diaz and vocalist Fito Reynoso delivering invocations accompanied by a conga battery including unbilled percussion master Michael Spiro\u003c/p>\n\u003cp>So where was the jazz happening? On Friday, the prime spot was also on First Street, where Café Stritch was in the midst of the third annual Rahsaanathon, a mini-festival that parallels but isn’t officially part of Summer Fest, and summons the spirit of the singular horn player, composer, and bandleader Rahsaan Roland Kirk.\u003c/p>\n\u003cfigure id=\"attachment_10885346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-800x534.jpg\" alt=\"Jesus Diaz\" width=\"800\" height=\"534\" class=\"size-medium wp-image-10885346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/JEsus-Diaz-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Diaz \u003ccite>(Courtesy of San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday was the second of three nights featuring East Bay-raised trombonist Steve Turre, a fixture on the New York scene for some four decades who spent his formative years playing with Kirk on Bay Area stages. Turre has presented Kirk’s music around the world, but Café Stritch has quickly become his Rahsaanian homebase.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating the occasion of Kirk’s 80\u003csup>th\u003c/sup> birthday (1935-1977), Turre’s Eulipion All-Stars feature Oakland-raised New York drummer Darrell Green, bassist Marcus Shelby, pianist Matt Clark, alto and soprano saxophonist Charles McNeal (who is much missed in the Bay Area since relocating to Las Vegas), and protean multi-instrumentalist James Carter (who also plays a quartet show with the same rhythm section at Stritch on Sunday). \u003c/p>\n\u003cp>Kirk wrote memorable themes that embodied his tragic, ecstatic and supremely humane sensibility, like the episodic “Three For the Festival” and sassy “Dorthaan’s Walk,” and the Eulipion All-Stars engaged fully with the music’s unruly, emotionally charged spirit.\u003c/p>\n\u003cfigure id=\"attachment_10885347\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tower-of-Power-800x517.jpg\" alt=\"Tower of Power at San Jose Jazz’s Summer Fest\" width=\"800\" height=\"517\" class=\"size-medium wp-image-10885347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tower-of-Power-400x259.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Power at San Jose Jazz’s Summer Fest \u003ccite>(Courtesy of San Jose Jazz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As on the previous Rahsaanathons, the ageless poet Betty Neals was on hand to recite her verse she recorded with Kirk on his album classic 1976 \u003cem>The Return of the 5000 lb Man\u003c/em>, providing the evening with a true benediction (a blessing amplified by Kirk’s widow Dorthaan Kirk, who was also in the house). And powerhouse blues and jazz singer Terrie Odabi infused the Eulipion theme with a regal and earthy air (she headlines her own show at Yoshi’s on Sept. 8). Around midnight Café Stritch’s Steve Borkenhagen presented Carter with Kirk’s reconditioned namesake Stritch, a straight alto with a keening tone, adding another layer to the Kirkian communion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the best festivals leave you exhilarated by music you experienced and frustrated by the acts you missed, Summer Fest and the Rahsaanathon deserve their reputations as being some of the Bay Area’s essential cultural events. For Saturday, bring on the Brazilians with Letieres Leite and Orchestra Rumpilezz!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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