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"content": "\u003cp>Matatu is an arts production group in Oakland, led by Michael Orange, focused on big ideas. I love their mission, which encompasses staged events, poetry readings, dance and music, all designed to enhance empathy. This festival, running Nov. 10–12, features a performance by Cuban-Jamaican poet Aja Monet, who also sings a bit. She’ll be reading from her newest collection, \u003cem>My Mother Was a Freedom Fighter.\u003c/em>\u003c/p>\n\u003cp>There’s also a discussion on the work of the late Hugo-winning science fiction writer Octavia Butler, featuring panelists Ellen Sebastian Chang and Audrey T. Williams. And Courtney Henry, a member of Alonzo King LINES Ballet, and fellow dancer Adji Cissoko lead a performance, discussion and film screening called \u003cem>Movement as Healing.\u003c/em> “We’re sort of approaching it as the body contains memory, pleasure pain, all of these things are stored within, and stored in the cells and the limbs, and the bones, and once you return to that, through movement you can actually heal it from the inside out.” We could all use some of that. \u003ca href=\"https://www.facebook.com/pg/matatufestival/events/\" 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>Matatu is an arts production group in Oakland, led by Michael Orange, focused on big ideas. I love their mission, which encompasses staged events, poetry readings, dance and music, all designed to enhance empathy. This festival, running Nov. 10–12, features a performance by Cuban-Jamaican poet Aja Monet, who also sings a bit. She’ll be reading from her newest collection, \u003cem>My Mother Was a Freedom Fighter.\u003c/em>\u003c/p>\n\u003cp>There’s also a discussion on the work of the late Hugo-winning science fiction writer Octavia Butler, featuring panelists Ellen Sebastian Chang and Audrey T. Williams. And Courtney Henry, a member of Alonzo King LINES Ballet, and fellow dancer Adji Cissoko lead a performance, discussion and film screening called \u003cem>Movement as Healing.\u003c/em> “We’re sort of approaching it as the body contains memory, pleasure pain, all of these things are stored within, and stored in the cells and the limbs, and the bones, and once you return to that, through movement you can actually heal it from the inside out.” We could all use some of that. \u003ca href=\"https://www.facebook.com/pg/matatufestival/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’ve been hearing a lot lately about the possibility of war with North Korea. But the Pacific Rim Music Festival at U.C. Santa Cruz, and a pair of concerts at Cal Performances celebrate gugak, the national music of Korea. Gugak dates back to the 6th century, long before the two nations were divided, and the National Gugak Center in Seoul, South Korea preserves and celebrates the music.\u003c/p>\n\u003cp>Festival Director Hi Kyung Kim says she didn’t anticipate the current tensions between the world and North Korea when she programmed the festival, but the music still addresses that divide. “That is the spirit,” Kyung Kim says, “that through music and culture, we can speak peacefully and we can be united.”\u003c/p>\n\u003cp>The Pacific Rim Festival is pairing the National Gugak Center Orchestra with chamber groups, playing new and traditional music (including three pieces by U.C. Berkeley professors) Oct. 25-29. And the orchestra plays two shows at Cal Performances on Oct. 28. For the U.C. Santa Cruz festival \u003ca href=\"https://pacificrim.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. For the Cal Performances shows at U.C. Berkeley on Oct. 28 (two shows plus a parade), \u003ca href=\"https://calperformances.org/performances/whats_on_next/\" 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>We’ve been hearing a lot lately about the possibility of war with North Korea. But the Pacific Rim Music Festival at U.C. Santa Cruz, and a pair of concerts at Cal Performances celebrate gugak, the national music of Korea. Gugak dates back to the 6th century, long before the two nations were divided, and the National Gugak Center in Seoul, South Korea preserves and celebrates the music.\u003c/p>\n\u003cp>Festival Director Hi Kyung Kim says she didn’t anticipate the current tensions between the world and North Korea when she programmed the festival, but the music still addresses that divide. “That is the spirit,” Kyung Kim says, “that through music and culture, we can speak peacefully and we can be united.”\u003c/p>\n\u003cp>The Pacific Rim Festival is pairing the National Gugak Center Orchestra with chamber groups, playing new and traditional music (including three pieces by U.C. Berkeley professors) Oct. 25-29. And the orchestra plays two shows at Cal Performances on Oct. 28. For the U.C. Santa Cruz festival \u003ca href=\"https://pacificrim.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. For the Cal Performances shows at U.C. Berkeley on Oct. 28 (two shows plus a parade), \u003ca href=\"https://calperformances.org/performances/whats_on_next/\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s hard to say what’s so special about Hardly Strictly Bluegrass. It’s free, of course, thanks to the late philanthropist and banjo player Warren Hellman, who founded the festival so he could play with bluegrass heroes like the late Hazel Dickens. And that spirit of generosity infiltrates everything about the event, the friendliness of the crowds and the pleasure the artists seem to take in being here. Booker Dawn Holliday can also be counted on to schedule a wide range of roots music, and stuff you just don’t expect. This year, my Do List co-host John Vanderslice and I are excited about bluegrass and country classicists like Berkeley’s Laurie Lewis, and regulars Lucinda Williams, Emmylou Harris, and the Brothers Comatose (real bluegrass).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6RqxiI4l-Fg\u003c/p>\n\u003cp>But also we like San Francisco indie prodigy Lila Blue, just 17 years old, who writes such knowing songs, and made her first recordings at Vanderslice’s Tiny Telephone studios.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_daL3Qfu3Pw\u003c/p>\n\u003cp>Hardly Strictly also features a pretty good jazz lineup with appearances by Ornette Coleman’s sidemen from his Prime Time band, guitarist Marc Ribot, David Murray, and Bay Area saxophonist Howard Wiley. And the “least likely” award goes to Cheap Trick, who Holliday said she booked “to add levity.” The festival runs Oct. 6–8; \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" 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>It’s hard to say what’s so special about Hardly Strictly Bluegrass. It’s free, of course, thanks to the late philanthropist and banjo player Warren Hellman, who founded the festival so he could play with bluegrass heroes like the late Hazel Dickens. And that spirit of generosity infiltrates everything about the event, the friendliness of the crowds and the pleasure the artists seem to take in being here. Booker Dawn Holliday can also be counted on to schedule a wide range of roots music, and stuff you just don’t expect. This year, my Do List co-host John Vanderslice and I are excited about bluegrass and country classicists like Berkeley’s Laurie Lewis, and regulars Lucinda Williams, Emmylou Harris, and the Brothers Comatose (real bluegrass).\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/6RqxiI4l-Fg'\n title='//www.youtube.com/embed/6RqxiI4l-Fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But also we like San Francisco indie prodigy Lila Blue, just 17 years old, who writes such knowing songs, and made her first recordings at Vanderslice’s Tiny Telephone studios.\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/_daL3Qfu3Pw'\n title='//www.youtube.com/embed/_daL3Qfu3Pw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hardly Strictly also features a pretty good jazz lineup with appearances by Ornette Coleman’s sidemen from his Prime Time band, guitarist Marc Ribot, David Murray, and Bay Area saxophonist Howard Wiley. And the “least likely” award goes to Cheap Trick, who Holliday said she booked “to add levity.” The festival runs Oct. 6–8; \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Where Have All the Warren Hellmans Gone?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>llow me a proclamation: Of all the months, October sees San Francisco at her most San Franciscan. When the rest of the country is transitioning into sweater weather, ODing on pumpkin spice lattes, and pretending to enjoy the nip in the air, San Francisco is (literally) just getting warmed up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13807423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot.jpg 299w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s Halloween, of course, which — despite the absence of our \u003ca href=\"https://en.wikipedia.org/wiki/Halloween_in_the_Castro\" target=\"_blank\" rel=\"noopener noreferrer\">beloved Castro street party\u003c/a>, RIP — San Francisco still does better than any other city in the world. There’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Litquake\u003c/a>, which marries alcohol and literature with a gusto that would have made Kerouac proud. There’s Fleet Week, if you’re into \u003cdel datetime=\"2017-10-04T00:10:40+00:00\">our government spending over a million dollars on a gaudy and wholly unnecessary display of military porn\u003c/del> shiny airplanes.\u003c/p>\n\u003cp>And then there’s the Queen Mother of them all, the October fest that sets the tone for the rest of the season — and the best event, in my humble opinion, of the whole damn year. We might not have traditional season markers in San Francisco; the leaves don’t change color much here. Instead, we have \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>.\u003c/p>\n\u003cp>This year’s fest, which takes place Oct. 6–8, comes less than a week after a mass shooting at a music festival. This is a revolting fear for attendees to have to carry, and the fact that the SFPD has \u003ca href=\"http://www.sfgate.com/entertainment/article/Security-to-increase-at-Hardly-Strictly-Fleet-12247415.php\" target=\"_blank\" rel=\"noopener noreferrer\">planned to ramp up its presence\u003c/a> at Hardly Strictly might seem, to some, like proof that it’s warranted. But I’d also humbly offer this: if there’s any festival built strong enough to squash that fear, it’s Hardly Strictly Bluegrass.\u003c/p>\n\u003cfigure id=\"attachment_12256138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12256138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-800x488.jpg\" alt=\"\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216.jpg 909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hardly Strictly Bluegrass 2012. \u003ccite>(Wikia / Lizray1016)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ardly Strictly has always been good to me. In 2010, the weekend I moved home from New York, one moment I was hungover on an airplane and the next I was stumbling through shrubbery just in time to catch Patti Smith — for free. In 2013, the weekend my household adopted two tiny brother kittens, I went straight from Billy Bragg singing “There Is Power In a Union” to a pair of spazzy, adorable furballs scampering around my apartment. In 2014, the Giants played the longest postseason game in Major League Baseball history, and I had the joy of listening to innings 13 through 15 on KNBR via my friend’s iPhone on full blast as we biked home in the darkness on a weirdly warm night. By the time we got to the Mission, we found ourselves in a cluster of other people on bikes, in formation around us, all listening intently. (Bonus: \u003ca href=\"http://m.mlb.com/news/article/97621636/giants-nats-battle-in-longest-playoff-game-in-history/\" target=\"_blank\" rel=\"noopener noreferrer\">the Giants won in the 18th\u003c/a>.)\u003c/p>\n\u003caside class=\"pullquote alignright\">While Google hiring bands to play for their employees technically counts as ‘supporting artists,’ it’s also vastly different from throwing the entire city a free, culturally enriching party.\u003c/aside>\n\u003cp>Everyone has their own versions of stories like this. And every year, as thousands of people pack picnics and layers (always layers) for Hardly Strictly, I find myself thinking on the semisweet irony of it all: that one of San Francisco’s most staunch capitalists — a billionaire investment banker before he got into venture capital, and one who supported Arnold Schwarzenegger for governor, at that — is the person who gifted the city with something so sweet, anti-capitalist, and lasting. It’s one of the only music events that remotely resembles the free-love-laced vision the Summer of Love participants had in mind when they flocked here 50 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s origin story is, of course, a legend at this point: how in 2001, after a lifetime of casually loving bluegrass and banjo, a then-67-year-old Hellman decided to throw a free, one-day bluegrass concert in the park; Alison Krauss and Emmylou Harris served as the housewarming committee for the meadow that now bears Hellman’s name.\u003c/p>\n\u003cp>Lately, though, I find myself looking toward the future as much as the past. San Francisco has more moneyed young people in it than at any other time in history. If tech is the new finance, there is potential here. I think about how nearly every band I know has played a well-paying corporate gig at Apple or Google or Salesforce or Twitter, as part of those companies’ Lunchtime Concert Series or their Friday Beer Bash or their regular Tuesday Tequila-and-Table-Tennis Disruption, Innovation and Brainstorming Sesh. And it strikes me that while \u003ca href=\"https://www.facebook.com/artistinresidence/\" target=\"_blank\" rel=\"noopener noreferrer\">this sort of patronage\u003c/a> technically counts as the tech world supporting artists financially, it’s also vastly different from throwing the entire city a free, family-friendly, and undeniably culturally enriching party.\u003c/p>\n\u003cp>All of which is to say: Whither the next Warren Hellman?\u003c/p>\n\u003cfigure id=\"attachment_10888731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10888731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg\" alt=\"A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s standard practice now for tech titans to offset their accumulation of wealth with philanthropy (hi, Zuckerberg San Francisco General Hospital and Trauma Center). This is a good thing, and far be it from me to pass judgment on which cause a person deems worthy of their millions. But while we plebes are told that the tech world’s persistent “disruption” is good for all of us, it’s my impression that concrete support for accessible art in this city — that is, music and theater and performance that’s open to all and asks nothing in return — remains elusive, or convoluted at best.\u003c/p>\n\u003cfigure id=\"attachment_13810473\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810473\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker.jpg\" alt='Warren Hellman left finance — \"the nastiest, most competitive business that you could imagine,\" in his words — to start the Hardly Strictly Bluegrass festival.' width=\"360\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker-240x320.jpg 240w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Warren Hellman left finance — “the nastiest, most competitive business that you could imagine,” in his words — to start the Hardly Strictly Bluegrass festival. \u003ccite>(Ron Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take Airbnb, whose rapid growth and accompanying role in evictions have earned the ire of affordable housing advocates. As \u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener noreferrer\">reported here earlier this year\u003c/a>, since launching its new “experiences” platform, the company has \u003ca href=\"https://www.airbnb.com/s/San-Francisco--CA--United-States/experiences?refinements%5B%5D=experiences&experience_categories%5B%5D=11&s_tag=ml-wkues&allow_override%5B%5D=\" target=\"_blank\" rel=\"noopener noreferrer\">partnered with live music promoters\u003c/a> to sell “secret concerts” in studios and living rooms, many of which were pre-existing and functioning just fine without a corporate giant as ticketing agent. Would-be attendees — already a self-selecting group, i.e., tech-savvy people who use Airbnb — pay $30 for a live music experience whose main selling point is exclusivity. Is that Airbnb supporting the arts? Or the local arts scene lending cultural capital to Airbnb? Who else is benefiting, exactly, and how?\u003c/p>\n\u003cp>Many people would tell you that Hellman wasn’t Gandhi, of course: like most extremely wealthy people in America, he spent most of his life benefiting from tax loopholes that allowed him to pay a staggeringly low percentage of his earnings back toward basic services in the city where he lived — then subsidized something large he could write off come tax time. (\u003ca href=\"http://sfist.com/2016/09/12/hardly_strictly_bluegrass_isnt_lega.php#comment-2890309577\" target=\"_blank\" rel=\"noopener noreferrer\">This buzzkill comment on an SFist post from last year sums it up nicely\u003c/a>.)\u003c/p>\n\u003cp>But from where I’m sitting — which is, if you were curious, usually on a blanket about halfway back from either the Rooster stage or the Towers of Gold — the end result remains the same. You show me a tech billionaire who wants to fund my ability to see Mavis Staples, Social Distortion, Lucinda Williams and Chris Isaak in a nudie suit doing “Wicked Game” while the sun sets and the scent of weed mingles with the eucalyptus trees and couples dance and babies get hoisted on shoulders with nary a corporate logo in sight, and I’ll show you someone worth naming a meadow after.\u003c/p>\n\u003cp>Until then, this city has some pretty big shoes to fill.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Hardly Strictly Bluegrass is egalitarian, anti-consumerist, and accessible to all — three virtues that the new San Francisco has lost sight of.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>llow me a proclamation: Of all the months, October sees San Francisco at her most San Franciscan. When the rest of the country is transitioning into sweater weather, ODing on pumpkin spice lattes, and pretending to enjoy the nip in the air, San Francisco is (literally) just getting warmed up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13807423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot.jpg 299w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s Halloween, of course, which — despite the absence of our \u003ca href=\"https://en.wikipedia.org/wiki/Halloween_in_the_Castro\" target=\"_blank\" rel=\"noopener noreferrer\">beloved Castro street party\u003c/a>, RIP — San Francisco still does better than any other city in the world. There’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Litquake\u003c/a>, which marries alcohol and literature with a gusto that would have made Kerouac proud. There’s Fleet Week, if you’re into \u003cdel datetime=\"2017-10-04T00:10:40+00:00\">our government spending over a million dollars on a gaudy and wholly unnecessary display of military porn\u003c/del> shiny airplanes.\u003c/p>\n\u003cp>And then there’s the Queen Mother of them all, the October fest that sets the tone for the rest of the season — and the best event, in my humble opinion, of the whole damn year. We might not have traditional season markers in San Francisco; the leaves don’t change color much here. Instead, we have \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>.\u003c/p>\n\u003cp>This year’s fest, which takes place Oct. 6–8, comes less than a week after a mass shooting at a music festival. This is a revolting fear for attendees to have to carry, and the fact that the SFPD has \u003ca href=\"http://www.sfgate.com/entertainment/article/Security-to-increase-at-Hardly-Strictly-Fleet-12247415.php\" target=\"_blank\" rel=\"noopener noreferrer\">planned to ramp up its presence\u003c/a> at Hardly Strictly might seem, to some, like proof that it’s warranted. But I’d also humbly offer this: if there’s any festival built strong enough to squash that fear, it’s Hardly Strictly Bluegrass.\u003c/p>\n\u003cfigure id=\"attachment_12256138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12256138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-800x488.jpg\" alt=\"\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HSBG-e1477441585216.jpg 909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hardly Strictly Bluegrass 2012. \u003ccite>(Wikia / Lizray1016)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ardly Strictly has always been good to me. In 2010, the weekend I moved home from New York, one moment I was hungover on an airplane and the next I was stumbling through shrubbery just in time to catch Patti Smith — for free. In 2013, the weekend my household adopted two tiny brother kittens, I went straight from Billy Bragg singing “There Is Power In a Union” to a pair of spazzy, adorable furballs scampering around my apartment. In 2014, the Giants played the longest postseason game in Major League Baseball history, and I had the joy of listening to innings 13 through 15 on KNBR via my friend’s iPhone on full blast as we biked home in the darkness on a weirdly warm night. By the time we got to the Mission, we found ourselves in a cluster of other people on bikes, in formation around us, all listening intently. (Bonus: \u003ca href=\"http://m.mlb.com/news/article/97621636/giants-nats-battle-in-longest-playoff-game-in-history/\" target=\"_blank\" rel=\"noopener noreferrer\">the Giants won in the 18th\u003c/a>.)\u003c/p>\n\u003caside class=\"pullquote alignright\">While Google hiring bands to play for their employees technically counts as ‘supporting artists,’ it’s also vastly different from throwing the entire city a free, culturally enriching party.\u003c/aside>\n\u003cp>Everyone has their own versions of stories like this. And every year, as thousands of people pack picnics and layers (always layers) for Hardly Strictly, I find myself thinking on the semisweet irony of it all: that one of San Francisco’s most staunch capitalists — a billionaire investment banker before he got into venture capital, and one who supported Arnold Schwarzenegger for governor, at that — is the person who gifted the city with something so sweet, anti-capitalist, and lasting. It’s one of the only music events that remotely resembles the free-love-laced vision the Summer of Love participants had in mind when they flocked here 50 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s origin story is, of course, a legend at this point: how in 2001, after a lifetime of casually loving bluegrass and banjo, a then-67-year-old Hellman decided to throw a free, one-day bluegrass concert in the park; Alison Krauss and Emmylou Harris served as the housewarming committee for the meadow that now bears Hellman’s name.\u003c/p>\n\u003cp>Lately, though, I find myself looking toward the future as much as the past. San Francisco has more moneyed young people in it than at any other time in history. If tech is the new finance, there is potential here. I think about how nearly every band I know has played a well-paying corporate gig at Apple or Google or Salesforce or Twitter, as part of those companies’ Lunchtime Concert Series or their Friday Beer Bash or their regular Tuesday Tequila-and-Table-Tennis Disruption, Innovation and Brainstorming Sesh. And it strikes me that while \u003ca href=\"https://www.facebook.com/artistinresidence/\" target=\"_blank\" rel=\"noopener noreferrer\">this sort of patronage\u003c/a> technically counts as the tech world supporting artists financially, it’s also vastly different from throwing the entire city a free, family-friendly, and undeniably culturally enriching party.\u003c/p>\n\u003cp>All of which is to say: Whither the next Warren Hellman?\u003c/p>\n\u003cfigure id=\"attachment_10888731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10888731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg\" alt=\"A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. (Photo: Gabe Meline/KQED)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.Hellman-e1475101618146-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign honoring Hardly Strictly Bluegrass founder Warren Hellman at Outside Lands, Aug. 9, 2015. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s standard practice now for tech titans to offset their accumulation of wealth with philanthropy (hi, Zuckerberg San Francisco General Hospital and Trauma Center). This is a good thing, and far be it from me to pass judgment on which cause a person deems worthy of their millions. But while we plebes are told that the tech world’s persistent “disruption” is good for all of us, it’s my impression that concrete support for accessible art in this city — that is, music and theater and performance that’s open to all and asks nothing in return — remains elusive, or convoluted at best.\u003c/p>\n\u003cfigure id=\"attachment_13810473\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810473\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker.jpg\" alt='Warren Hellman left finance — \"the nastiest, most competitive business that you could imagine,\" in his words — to start the Hardly Strictly Bluegrass festival.' width=\"360\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Warren_Hellman_by_Ron_Baker-240x320.jpg 240w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Warren Hellman left finance — “the nastiest, most competitive business that you could imagine,” in his words — to start the Hardly Strictly Bluegrass festival. \u003ccite>(Ron Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take Airbnb, whose rapid growth and accompanying role in evictions have earned the ire of affordable housing advocates. As \u003ca href=\"https://ww2.kqed.org/arts/2017/04/28/sofar-sounds-house-shows-airbnb-middleman/\" target=\"_blank\" rel=\"noopener noreferrer\">reported here earlier this year\u003c/a>, since launching its new “experiences” platform, the company has \u003ca href=\"https://www.airbnb.com/s/San-Francisco--CA--United-States/experiences?refinements%5B%5D=experiences&experience_categories%5B%5D=11&s_tag=ml-wkues&allow_override%5B%5D=\" target=\"_blank\" rel=\"noopener noreferrer\">partnered with live music promoters\u003c/a> to sell “secret concerts” in studios and living rooms, many of which were pre-existing and functioning just fine without a corporate giant as ticketing agent. Would-be attendees — already a self-selecting group, i.e., tech-savvy people who use Airbnb — pay $30 for a live music experience whose main selling point is exclusivity. Is that Airbnb supporting the arts? Or the local arts scene lending cultural capital to Airbnb? Who else is benefiting, exactly, and how?\u003c/p>\n\u003cp>Many people would tell you that Hellman wasn’t Gandhi, of course: like most extremely wealthy people in America, he spent most of his life benefiting from tax loopholes that allowed him to pay a staggeringly low percentage of his earnings back toward basic services in the city where he lived — then subsidized something large he could write off come tax time. (\u003ca href=\"http://sfist.com/2016/09/12/hardly_strictly_bluegrass_isnt_lega.php#comment-2890309577\" target=\"_blank\" rel=\"noopener noreferrer\">This buzzkill comment on an SFist post from last year sums it up nicely\u003c/a>.)\u003c/p>\n\u003cp>But from where I’m sitting — which is, if you were curious, usually on a blanket about halfway back from either the Rooster stage or the Towers of Gold — the end result remains the same. You show me a tech billionaire who wants to fund my ability to see Mavis Staples, Social Distortion, Lucinda Williams and Chris Isaak in a nudie suit doing “Wicked Game” while the sun sets and the scent of weed mingles with the eucalyptus trees and couples dance and babies get hoisted on shoulders with nary a corporate logo in sight, and I’ll show you someone worth naming a meadow after.\u003c/p>\n\u003cp>Until then, this city has some pretty big shoes to fill.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More",
"headTitle": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More | KQED",
"content": "\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\n\u003cp>https://youtu.be/3KNsBCf34fQ\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\n\u003cp>https://youtu.be/fMQGqOg4lDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\n\u003cp>https://youtu.be/th370QmFtk8\u003c/p>\n\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\n\u003cp>https://youtu.be/hADxHPEekqg\u003c/p>\n\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\n\u003cp>https://youtu.be/eIqESwzCGg4\u003c/p>\n\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\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": "Our music editor's picks for who to see at the free San Francisco fest — a list of five unlikely acts among the mostly acoustic lineup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\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/3KNsBCf34fQ'\n title='//www.youtube.com/embed/3KNsBCf34fQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\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/fMQGqOg4lDw'\n title='//www.youtube.com/embed/fMQGqOg4lDw'\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>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\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/th370QmFtk8'\n title='//www.youtube.com/embed/th370QmFtk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\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/hADxHPEekqg'\n title='//www.youtube.com/embed/hADxHPEekqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\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/eIqESwzCGg4'\n title='//www.youtube.com/embed/eIqESwzCGg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s Art and Soul Festival is the best street festival I know, embracing visitors with the small town warmth of a country fair and a sense of the town’s great spirit. It’s a nice reminder of why we love this sometimes troubled city. Expect lots of food trucks and booths, and the chance not only to look at art, but to make it yourself. There’s some great music as well, including Oakland R&B singer Goapele, Panamanian hip-hop duo Los Rakas, and the John Brothers Piano Company. And it’s cheap — 12 bucks for adults, just seven for seniors, and free for kids under 12. Art and Soul in Oakland runs Saturday and Sunday, Aug. 19 and 20, in downtown Oakland; \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">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>Oakland’s Art and Soul Festival is the best street festival I know, embracing visitors with the small town warmth of a country fair and a sense of the town’s great spirit. It’s a nice reminder of why we love this sometimes troubled city. Expect lots of food trucks and booths, and the chance not only to look at art, but to make it yourself. There’s some great music as well, including Oakland R&B singer Goapele, Panamanian hip-hop duo Los Rakas, and the John Brothers Piano Company. And it’s cheap — 12 bucks for adults, just seven for seniors, and free for kids under 12. Art and Soul in Oakland runs Saturday and Sunday, Aug. 19 and 20, in downtown Oakland; \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments",
"headTitle": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments | KQED",
"content": "\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2008\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805024,13805025,13805026,13805027,13805028,13805029,13805030,13805031,13805032,13805033,13805034,13805035,13805036,13805037,13805038,13805039,13805040,13805041,13805042,13805043,13805044,13805045,13805046,13805047,13805048\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2009\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805051,13805052,13805053,13805054,13805055,13805056,13805057,13805058,13805059,13805061,13805062,13805063,13805064,13805065\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2010\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805087,13805086,13805085,13805084,13805080,13805081,13805082,13805083,13805079,13805078,13805077\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2011\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805089,13805090,13805092,13805093,13805094,13805095,13805096,13805097,13805098,13805099,13805100,13805101,13805102,13805103,13805104,13805105,13805106,13805107,13805108,13805109,13805110\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2012\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805111,13805112,13805113,13805114,13805115,13805116,13805117,13805118,13805119\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2014\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805121,13805122,13805123,13805124,13805125,13805127,13805128,13805129,13805131,13805132,13805133,13805134,13805135,13805136,13805137,13805138,13805139,13805140,13805141\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2015\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"10885093,10885096,10885098,10885099,10885100,10885104,10885105,10885108,10886954,10886957,10886958,10886963,10886964,10886970,10886973,10888721,10888719,10886974,10888717,10888727,10888734,10888736,10888737,10888729\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\n\u003cp>https://www.instagram.com/p/6L0CXCSSRC/\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2016\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"11901951,11903497,11903671,11903679,11903678,11903682,11903684,11907405,11907960,11907961,11907970,11907966,11907968,11911965,11907977,11911972,11907978,11911976,11911973,11911974,11912298\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\n\u003cp>https://www.instagram.com/p/BIybAeQg1yd/\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Outside Lands returns for its 10th year this weekend, and there's no better time to look back at the past decade of music, fashion, and people at the festival.",
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"description": "Outside Lands returns for its 10th year this weekend, and there's no better time to look back at the past decade of music, fashion, and people at the festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2008\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2009\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\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/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2010\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2011\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2012\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2014\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2015\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2016\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"headTitle": "Cy and Zahra’s Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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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",
"description": "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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"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": "Cy and Ariana's Picks: Poets on Art, Drawing on Everything, and Jazz for a Summer's Day",
"headTitle": "Cy and Ariana’s Picks: Poets on Art, Drawing on Everything, and Jazz for a Summer’s Day | KQED",
"content": "\u003cp>This week we welcome back as co-host KQED Youth Media Manager and music geek Ariana Proehl. Despite the fact that it’s summer, we are overstocked with cool stuff: We didn’t have a chance to talk about the incredible John Luther Adams festival, running July 26–30 at SFJAZZ (and outdoors, at \u003ca href=\"https://sfjazz.org/events/sessions/2017/jla/inuksuit\" target=\"_blank\" rel=\"noopener noreferrer\">Sutro Baths\u003c/a>). It looks like a huge deal, with a world premiere by the Alaskan composer on the schedule — \u003ca href=\"https://sfjazz.org/johnlutheradams\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> And there’s no place better to be for families than at the free 30th annual Berkeley Kite Festival, running July 29-30 at the Berkeley Marina. \u003ca href=\"http://www.highlinekites.com/pages.php?pageid=21\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C2EJ5_HOiDA\u003c/p>\n\u003cp>\u003cstrong>Aug. 11–13:\u003c/strong> \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Sumer Fest\u003c/a> always features a lot of salsa — and this year, the woman from Benin, Angélique Kidjo, does her own tribute to the musical style. The gifted Cuban singer Daymé Arocena also delivers her intoxicating mix of rumba, Santeria and jazz, and the Bay Area’s dance kings, the Pacific Mambo Orchestra, is also there. But the festival embraces all kinds of music, with a strong hit of R&B and funk this year, with Maceo Parker, George Clinton and Parliament Funkadelic representing the past, and East Bay band The Seshen exemplifying the future. Traditional jazz lovers will be happy to catch bassist Eddie Gomez (in a quintet with George Cables, Randy Brecker, Javon Jackson and Jimmy Cobb), and B3 organ jazz master Dr. Lonnie Smith. \u003ca href=\"https://summerfest.sanjosejazz.org/?gclid=CJOr1_3qp9UCFRKXfgodwYcOXg\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kwPEFVHZTmE\u003c/p>\n\u003cp>\u003cstrong>Aug. 4\u003c/strong>: One extra jazz note as the gifted ukulele player Taimane, who gets a huge sound with her three finger technique, follows her San Jose Jazz performance with a gig at Don Quixote’s in Felton, in the Santa Cruz Mountains, on Aug. 15. \u003ca href=\"http://www.bandsintown.com/event/14825388-taimane-gardner-felton-don-quixotes-international-music-hall-2017?artist=Taimane+Gardner\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And then she’s at Freight and Salvage in Berkeley on Aug. 16. \u003ca href=\"http://thefreight.org/taimane-special-guest-ruslan-sirota\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13748743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg\" alt=\"Work by Duhirwe Rushemeza part of the show 'Ease of Fiction' at MOAD in San Francisco\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-768x744.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1020x988.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1180x1143.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-960x930.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-520x504.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by Duhirwe Rushemeza, part of the show ‘Ease of Fiction’ at MOAD in San Francisco. \u003ccite>(Photo: Courtesy of Museum of the African Diaspora (MOAD))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug 3, 10 and 17: Who better to interpret challenging visual arts than poets? That’s the idea behind \u003cem>Community Voices: Poets Speak\u003c/em> at the \u003c/strong>\u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Museum of the African Diaspora\u003c/a> (MOAD) — where every week a new poet offers their insights into the exhibition \u003cem>The Ease of Fiction\u003c/em>, which presents the work of four African artists living in the United States. Poet Arisa White is the curator for the series, tapping fellow Bay Area members of Cave Canem (Latin for “beware the dog”), a poetry fellowship for African-American poets. As Ariana notes, what a beautiful and fun way to experience visual art — with a poet as your guide. Details for upcoming evenings (featuring Oakland poet George Higgens and former San Francisco Poet Laureate devorah major) \u003ca href=\"https://www.moadsf.org/event/community-voices-poets-speak/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zuNMmaU1XGw\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 5:\u003c/strong> Music at Menlo, now underway, is just the nicest little chamber festival you can imagine, with concerts and seminars, international stars and student ensembles lecturing and playing in intimate concert halls. A stone’s throw from Facebook HQ, the annual festival \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">hasn’t exactly seen the tech-worker crowd embrace it yet\u003c/a>, but that’s a side note when the music is of such high quality. This year’s theme is \u003cem>The Glorious Violin\u003c/em>, featuring violin music from the Baroque to brand new works. \u003ca href=\"https://musicatmenlo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hAN8LnK960o\u003c/p>\n\u003cp>\u003cstrong>Aug. 1, 2, 8, and 15:\u003c/strong> Boz Scaggs began his career in the dawn of the “San Francisco Sound” playing in the Steve Miller Band, later scoring hits in the ’70s with blue-eyed soul and disco favorites. Ariana says she bonded with a boyfriend in her youth over the soulful groove of “Lowdown,” and Scaggs is still mixing it up in 2017, with a new album featuring his takes on songs by Fats Domino (see the video for “A Fool to Care” above), Al Green, and even the Spinners. Even though he owns Slim’s music club in San Francisco, Scaggs plays the Luther Burbank Center in Santa Rosa on Aug. 1, Monterey’s Golden State Theater on Aug. 2, Saratoga’s Mountain Winery Aug. 8, and Livermore’s Wente Winery Aug. 15. Details \u003ca href=\"http://www.bozscaggs.com/tour.html\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7ywYnk0-xUY\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 18\u003c/strong>: Shantell Martin is an artist who likes to draw on everything — metaphorically and literally. She grew up in a public housing complex in East London, where she drew behind the curtains and on the floor under her bed to avoid getting in trouble. Now, galleries are eager to have her use her Sharpies on their walls, because she’s become an international art star. Her style is a bit like Keith Haring, with a more whimsical streak. Her newest show is \u003cem>Charge Your Self\u003c/em>, and speckled among the googly eyes of the faces she draws are affirmations like “Share your voice. Use your magic.” Ariana says she got a lot of energy from the show. We both felt charged up. \u003ca href=\"http://www.blouinartinfo.com/news/story/2383359/charge-your-self-by-shantell-martin-at-chandran-gallery-san\" target=\"_blank\" rel=\"noopener noreferrer\">Details for Martin’s show at Chandran Gallery in Union Square are here.\u003c/a>\u003c/p>\n\u003cp>Thanks, Ariana!\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748662\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-800x550.jpg\" alt=\"Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show\" width=\"800\" height=\"550\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show. \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Do List co-hosts Cy Musiker and Ariana Proehl talk about San Jose's Jazz Fest, a poetry and art show at MoAD, Music at Menlo, a show by Shantell Martin and more.",
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"description": "Do List co-hosts Cy Musiker and Ariana Proehl talk about San Jose's Jazz Fest, a poetry and art show at MoAD, Music at Menlo, a show by Shantell Martin and more.",
"title": "Cy and Ariana's Picks: Poets on Art, Drawing on Everything, and Jazz for a Summer's Day | KQED",
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"headline": "Cy and Ariana's Picks: Poets on Art, Drawing on Everything, and Jazz for a Summer's Day",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we welcome back as co-host KQED Youth Media Manager and music geek Ariana Proehl. Despite the fact that it’s summer, we are overstocked with cool stuff: We didn’t have a chance to talk about the incredible John Luther Adams festival, running July 26–30 at SFJAZZ (and outdoors, at \u003ca href=\"https://sfjazz.org/events/sessions/2017/jla/inuksuit\" target=\"_blank\" rel=\"noopener noreferrer\">Sutro Baths\u003c/a>). It looks like a huge deal, with a world premiere by the Alaskan composer on the schedule — \u003ca href=\"https://sfjazz.org/johnlutheradams\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> And there’s no place better to be for families than at the free 30th annual Berkeley Kite Festival, running July 29-30 at the Berkeley Marina. \u003ca href=\"http://www.highlinekites.com/pages.php?pageid=21\" target=\"_blank\" rel=\"noopener noreferrer\">Details 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/C2EJ5_HOiDA'\n title='//www.youtube.com/embed/C2EJ5_HOiDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 11–13:\u003c/strong> \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Sumer Fest\u003c/a> always features a lot of salsa — and this year, the woman from Benin, Angélique Kidjo, does her own tribute to the musical style. The gifted Cuban singer Daymé Arocena also delivers her intoxicating mix of rumba, Santeria and jazz, and the Bay Area’s dance kings, the Pacific Mambo Orchestra, is also there. But the festival embraces all kinds of music, with a strong hit of R&B and funk this year, with Maceo Parker, George Clinton and Parliament Funkadelic representing the past, and East Bay band The Seshen exemplifying the future. Traditional jazz lovers will be happy to catch bassist Eddie Gomez (in a quintet with George Cables, Randy Brecker, Javon Jackson and Jimmy Cobb), and B3 organ jazz master Dr. Lonnie Smith. \u003ca href=\"https://summerfest.sanjosejazz.org/?gclid=CJOr1_3qp9UCFRKXfgodwYcOXg\" 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/kwPEFVHZTmE'\n title='//www.youtube.com/embed/kwPEFVHZTmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 4\u003c/strong>: One extra jazz note as the gifted ukulele player Taimane, who gets a huge sound with her three finger technique, follows her San Jose Jazz performance with a gig at Don Quixote’s in Felton, in the Santa Cruz Mountains, on Aug. 15. \u003ca href=\"http://www.bandsintown.com/event/14825388-taimane-gardner-felton-don-quixotes-international-music-hall-2017?artist=Taimane+Gardner\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And then she’s at Freight and Salvage in Berkeley on Aug. 16. \u003ca href=\"http://thefreight.org/taimane-special-guest-ruslan-sirota\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13748743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg\" alt=\"Work by Duhirwe Rushemeza part of the show 'Ease of Fiction' at MOAD in San Francisco\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-800x775.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-768x744.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1020x988.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-1180x1143.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-960x930.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-520x504.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Duhirwe-Rushemeza-II.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by Duhirwe Rushemeza, part of the show ‘Ease of Fiction’ at MOAD in San Francisco. \u003ccite>(Photo: Courtesy of Museum of the African Diaspora (MOAD))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug 3, 10 and 17: Who better to interpret challenging visual arts than poets? That’s the idea behind \u003cem>Community Voices: Poets Speak\u003c/em> at the \u003c/strong>\u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Museum of the African Diaspora\u003c/a> (MOAD) — where every week a new poet offers their insights into the exhibition \u003cem>The Ease of Fiction\u003c/em>, which presents the work of four African artists living in the United States. Poet Arisa White is the curator for the series, tapping fellow Bay Area members of Cave Canem (Latin for “beware the dog”), a poetry fellowship for African-American poets. As Ariana notes, what a beautiful and fun way to experience visual art — with a poet as your guide. Details for upcoming evenings (featuring Oakland poet George Higgens and former San Francisco Poet Laureate devorah major) \u003ca href=\"https://www.moadsf.org/event/community-voices-poets-speak/\" target=\"_blank\" rel=\"noopener noreferrer\">are 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/zuNMmaU1XGw'\n title='//www.youtube.com/embed/zuNMmaU1XGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 5:\u003c/strong> Music at Menlo, now underway, is just the nicest little chamber festival you can imagine, with concerts and seminars, international stars and student ensembles lecturing and playing in intimate concert halls. A stone’s throw from Facebook HQ, the annual festival \u003ca href=\"https://ww2.kqed.org/arts/2017/07/11/for-chamber-music-in-silicon-valley-hoodies-and-haydn-dont-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">hasn’t exactly seen the tech-worker crowd embrace it yet\u003c/a>, but that’s a side note when the music is of such high quality. This year’s theme is \u003cem>The Glorious Violin\u003c/em>, featuring violin music from the Baroque to brand new works. \u003ca href=\"https://musicatmenlo.org/\" 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/hAN8LnK960o'\n title='//www.youtube.com/embed/hAN8LnK960o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 1, 2, 8, and 15:\u003c/strong> Boz Scaggs began his career in the dawn of the “San Francisco Sound” playing in the Steve Miller Band, later scoring hits in the ’70s with blue-eyed soul and disco favorites. Ariana says she bonded with a boyfriend in her youth over the soulful groove of “Lowdown,” and Scaggs is still mixing it up in 2017, with a new album featuring his takes on songs by Fats Domino (see the video for “A Fool to Care” above), Al Green, and even the Spinners. Even though he owns Slim’s music club in San Francisco, Scaggs plays the Luther Burbank Center in Santa Rosa on Aug. 1, Monterey’s Golden State Theater on Aug. 2, Saratoga’s Mountain Winery Aug. 8, and Livermore’s Wente Winery Aug. 15. Details \u003ca href=\"http://www.bozscaggs.com/tour.html\" target=\"_blank\" rel=\"noopener noreferrer\">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/7ywYnk0-xUY'\n title='//www.youtube.com/embed/7ywYnk0-xUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 18\u003c/strong>: Shantell Martin is an artist who likes to draw on everything — metaphorically and literally. She grew up in a public housing complex in East London, where she drew behind the curtains and on the floor under her bed to avoid getting in trouble. Now, galleries are eager to have her use her Sharpies on their walls, because she’s become an international art star. Her style is a bit like Keith Haring, with a more whimsical streak. Her newest show is \u003cem>Charge Your Self\u003c/em>, and speckled among the googly eyes of the faces she draws are affirmations like “Share your voice. Use your magic.” Ariana says she got a lot of energy from the show. We both felt charged up. \u003ca href=\"http://www.blouinartinfo.com/news/story/2383359/charge-your-self-by-shantell-martin-at-chandran-gallery-san\" target=\"_blank\" rel=\"noopener noreferrer\">Details for Martin’s show at Chandran Gallery in Union Square are here.\u003c/a>\u003c/p>\n\u003cp>Thanks, Ariana!\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13748662\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-800x550.jpg\" alt=\"Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show\" width=\"800\" height=\"550\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker at the Chandran Gallery for the Shantell Martin show. \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Local Bands at Northern California’s Best Music Festivals",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s mix of music by local bands playing this summer’s best music festivals.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Festivals_2017_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Music festival season unofficially kicked off on Friday, May 26, with the latest installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/05/27/bottlerock-photos-maroon-5-macklemore-2017-day-one/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley festival\u003c/a> attracting many thousands of music fans for three days of food, wine, and over 80 bands ranging from the Foo Fighters to the Napa Youth Symphony. The number and types of music fests has grown considerably in recent years — among this year’s new offerings are not one, but \u003cem>two\u003c/em> new music and comedy weekends coming to the Bay in June — surely to the dismay of fans who might prefer to see bands in more intimate, contained environments.\u003c/p>\n\u003cp>The multi-day festival experience may not be for everyone, but it does provides a great way to sample a large variety of acts in a single setting. Where else but \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> could one see Metallica, Kamaiyah, and The She’s, along with dozens of other bands, at the same show? How awesome is it that Allah Las, Cass McCombs, Beachwood Sparks, and Christopher Owens’ new band Curls are all headed to the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a>?\u003c/p>\n\u003cp>In this mixtape, we check out a variety of local bands playing at music festivals across Northern California. In addition to sampling a great mix of Bay Area music, the collection also highlights the variety of unique fests happening around the area over the next few months.\u003c/p>\n\u003cp>If you’re looking to get out of town, consider one of the many festivals that combine music and the great outdoors, like \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>, \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, and the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a>. But if you’d prefer to stay closer to home, there are plenty of great festivals coming to local parks, including the summer-long \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>, Oakland’s \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and our \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape above to learn more about all of the upcoming festivals and all 13 artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cu>About the Bands\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterswaters/\">WATERS\u003c/a>\u003c/strong> – “Hiccups”\u003cbr>\nAppearing at \u003ca href=\"http://live105.cbslocal.com/show/bfd/\">BFD 2017\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tuckeredoutboy/\">Tuckered Out\u003c/a>\u003c/strong> – “Hippocracy”\u003cbr>\nThe Death Records artist performs at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a> on July 8\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blanksquared.bandcamp.com/releases\">Blank Square\u003c/a>\u003c/strong> – “Charmer”\u003cbr>\nSF’s Blank Square joins over 40 other bands on July 8 at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Glitter-Wizard-77619029508/\">Glitter Wizard\u003c/a>\u003c/strong> – “Mycelia”\u003cbr>\nPlaying on July 2 at \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a> in Oakland’s Mosswood Park\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kevchoice/?hc_ref=SEARCH&fref=nf\">Kev Choice\u003c/a>\u003c/strong> – “Hero’s Theme”\u003cbr>\nPerforming alongside Mavis Staples on August 27 as part of the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>‘s 80th season\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture/\">Meernaa\u003c/a>\u003c/strong> – “Redwood”\u003cbr>\nOne of over thirty bands performing at \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, which takes place June 16-18 in Leggett, California\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theshesmusic/\">The She’s\u003c/a>\u003c/strong> – “My Secret To Keep”\u003cbr>\nJoining Metallica, The Who, and many more at the tenth annual \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands Festival\u003c/a> from August 11-13\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic/\">Jay Som\u003c/a>\u003c/strong> – “1 Billion Dogs”\u003cbr>\nOn June 17, Melina Duterte and her band perform at The Bay Bridged’s \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/outerembassy/?hc_ref=SEARCH&fref=nf\">Outer Embassy\u003c/a>\u003c/strong> – “Iron Strike”\u003cbr>\nThe SF band plays this year’s \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://timcohen.bandcamp.com/\">Tim Cohen\u003c/a>\u003c/strong> – “John Hughes”\u003cbr>\nThe Fresh & Onlys’ bandleader appears at the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10 with Allah Las, Dean Wareham, Robyn Hitchcock and more\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nickibluhm/\">Nicki Bluhm and The Gramblers\u003c/a>\u003c/strong> – “Waiting on Love”\u003cbr>\nNicki Bluhm and her band perform at the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a> on July 2; the singer will also join the Dirty Dozen Brass Band for a special set at the \u003ca href=\"https://montereypopfestival50.com/\">Monterey International Pop Festival\u003c/a> on June 18\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thebrotherscomatose/?ref=br_rs\">The Brothers Comatose\u003c/a>\u003c/strong> – “Black Light Moon”\u003cbr>\nThe band is set to appear at the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a> on June 29 and July 1, and is presenting its third annual \u003ca href=\"https://www.eventbrite.com/e/comatopia-2017-presented-by-the-brothers-comatose-august-11-12-tickets-33290065482\">Comatopia\u003c/a> festival on August 11 and 12 in North Fork, California\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/personalandthepizzas/\">Personal and the Pizzas\u003c/a>\u003c/strong> – “Joey Quit the Pouch”\u003cbr>\nThe “New Jersey” band is racking up the festival appearances this summer, with sets at \u003ca href=\"https://www.facebook.com/sfpopfest/\">SF Popfest\u003c/a>, \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\n",
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"excerpt": "It's official: music festival season is upon us. Here are 13 of the hometown heroes playing Northern California's best fests this summer. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s mix of music by local bands playing this summer’s best music festivals.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Festivals_2017_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Music festival season unofficially kicked off on Friday, May 26, with the latest installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/05/27/bottlerock-photos-maroon-5-macklemore-2017-day-one/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley festival\u003c/a> attracting many thousands of music fans for three days of food, wine, and over 80 bands ranging from the Foo Fighters to the Napa Youth Symphony. The number and types of music fests has grown considerably in recent years — among this year’s new offerings are not one, but \u003cem>two\u003c/em> new music and comedy weekends coming to the Bay in June — surely to the dismay of fans who might prefer to see bands in more intimate, contained environments.\u003c/p>\n\u003cp>The multi-day festival experience may not be for everyone, but it does provides a great way to sample a large variety of acts in a single setting. Where else but \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> could one see Metallica, Kamaiyah, and The She’s, along with dozens of other bands, at the same show? How awesome is it that Allah Las, Cass McCombs, Beachwood Sparks, and Christopher Owens’ new band Curls are all headed to the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a>?\u003c/p>\n\u003cp>In this mixtape, we check out a variety of local bands playing at music festivals across Northern California. In addition to sampling a great mix of Bay Area music, the collection also highlights the variety of unique fests happening around the area over the next few months.\u003c/p>\n\u003cp>If you’re looking to get out of town, consider one of the many festivals that combine music and the great outdoors, like \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>, \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, and the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a>. But if you’d prefer to stay closer to home, there are plenty of great festivals coming to local parks, including the summer-long \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>, Oakland’s \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and our \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape above to learn more about all of the upcoming festivals and all 13 artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cu>About the Bands\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterswaters/\">WATERS\u003c/a>\u003c/strong> – “Hiccups”\u003cbr>\nAppearing at \u003ca href=\"http://live105.cbslocal.com/show/bfd/\">BFD 2017\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tuckeredoutboy/\">Tuckered Out\u003c/a>\u003c/strong> – “Hippocracy”\u003cbr>\nThe Death Records artist performs at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a> on July 8\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blanksquared.bandcamp.com/releases\">Blank Square\u003c/a>\u003c/strong> – “Charmer”\u003cbr>\nSF’s Blank Square joins over 40 other bands on July 8 at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Glitter-Wizard-77619029508/\">Glitter Wizard\u003c/a>\u003c/strong> – “Mycelia”\u003cbr>\nPlaying on July 2 at \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a> in Oakland’s Mosswood Park\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kevchoice/?hc_ref=SEARCH&fref=nf\">Kev Choice\u003c/a>\u003c/strong> – “Hero’s Theme”\u003cbr>\nPerforming alongside Mavis Staples on August 27 as part of the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>‘s 80th season\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture/\">Meernaa\u003c/a>\u003c/strong> – “Redwood”\u003cbr>\nOne of over thirty bands performing at \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, which takes place June 16-18 in Leggett, California\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theshesmusic/\">The She’s\u003c/a>\u003c/strong> – “My Secret To Keep”\u003cbr>\nJoining Metallica, The Who, and many more at the tenth annual \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands Festival\u003c/a> from August 11-13\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic/\">Jay Som\u003c/a>\u003c/strong> – “1 Billion Dogs”\u003cbr>\nOn June 17, Melina Duterte and her band perform at The Bay Bridged’s \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/outerembassy/?hc_ref=SEARCH&fref=nf\">Outer Embassy\u003c/a>\u003c/strong> – “Iron Strike”\u003cbr>\nThe SF band plays this year’s \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://timcohen.bandcamp.com/\">Tim Cohen\u003c/a>\u003c/strong> – “John Hughes”\u003cbr>\nThe Fresh & Onlys’ bandleader appears at the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10 with Allah Las, Dean Wareham, Robyn Hitchcock and more\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nickibluhm/\">Nicki Bluhm and The Gramblers\u003c/a>\u003c/strong> – “Waiting on Love”\u003cbr>\nNicki Bluhm and her band perform at the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a> on July 2; the singer will also join the Dirty Dozen Brass Band for a special set at the \u003ca href=\"https://montereypopfestival50.com/\">Monterey International Pop Festival\u003c/a> on June 18\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thebrotherscomatose/?ref=br_rs\">The Brothers Comatose\u003c/a>\u003c/strong> – “Black Light Moon”\u003cbr>\nThe band is set to appear at the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a> on June 29 and July 1, and is presenting its third annual \u003ca href=\"https://www.eventbrite.com/e/comatopia-2017-presented-by-the-brothers-comatose-august-11-12-tickets-33290065482\">Comatopia\u003c/a> festival on August 11 and 12 in North Fork, California\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/personalandthepizzas/\">Personal and the Pizzas\u003c/a>\u003c/strong> – “Joey Quit the Pouch”\u003cbr>\nThe “New Jersey” band is racking up the festival appearances this summer, with sets at \u003ca href=\"https://www.facebook.com/sfpopfest/\">SF Popfest\u003c/a>, \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Do you love Coachella? Have you achieved expert camper level at Bonnaroo? Do you thrive on the act of snaking your way through a crowd 200,000 strong to find your friends at \u003ca href=\"https://ww2.kqed.org/arts/2017/04/04/outside-lands-2017-lineup-metallica-lorde-gorillaz-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If that’s a hard no, no and \u003cem>no, thank you, \u003c/em>you’re not alone. Upwards of \u003ca href=\"https://www.washingtonpost.com/posteverything/wp/2017/04/17/are-there-too-many-music-festivals/?utm_term=.4a001793e3c0\" target=\"_blank\" rel=\"noopener noreferrer\">32 million people now attend music festivals in the U.S.\u003c/a> — and if you’re currently recovering from \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/bottlerock-2017-lineup-foo-fighters-tom-petty-maroon-5-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s BottleRock\u003c/a>, more power to you! But not everyone loves a massive festival. For example: people who can’t afford to spend \u003ca href=\"https://sfbay.craigslist.org/sfc/tix/6146126687.html\" target=\"_blank\" rel=\"noopener noreferrer\">half their month’s rent\u003c/a> on a wristband that gets you access to slightly nicer than usual Port-a-Pottys.\u003c/p>\n\u003cp>Luckily, if you don’t have the dough or can’t stomach the crowds, that doesn’t mean you need to skip out on music festivals entirely. Here are a handful of fests that won’t break the bank (these all clock in at $50 or under for a single-day ticket) or lead to large crowd-induced panic attacks (I am not a doctor).\u003c/p>\n\u003ch4>\u003ca href=\"http://www.huichica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica Music Festival\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 9–10 at Gundlach Bundschu Winery, Sonoma\u003c/strong>\u003cbr>\nSet among a picturesque 300-acre vineyard in the foothills of the Mayacamas Mountains, this festival would be a charmer even without a great lineup — but it has that too. Booked by (((folkYEAH!))), this fest’s bill is an annual who’s-who in sun-baked West Coast indie music: The Allah-La’s bring psychedelic desert twang up from L.A.; the Mattson 2 reinterpret Coltrane’s \u003cem>A Love Supreme\u003c/em> through a beachy 2017 filter; Christopher Owens’ new band Curls brings, well, Christopher Owens being inscrutably Christopher Owens-like. Others to check out: Tara Jane O’Neil, San Francisco’s own Heron Oblivion and Cool Ghouls, and Marty O’Reilly, from Santa Cruz. \u003ca href=\"https://www.ticketfly.com/purchase/event/1438216/tfly?__utma=1.491395843.1494892688.1495687989.1495749301.3&__utmb=1.1.10.1495749301&__utmc=1&__utmx=-&__utmz=1.1495749301.3.3.utmcsr=huichica.com%7Cutmccn=(referral)%7Cutmcmd=referral%7Cutmcct=/new-page-5-1-1/&__utmv=-&__utmk=72502803\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($40 and up) here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bBoBsUx5fs\u003c/p>\n\u003ch4>\u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hickey Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 16–18 at the Peg House, Leggett\u003c/strong>\u003cbr>\nI almost feel bad writing about this festival in Standish Hickey State Park, about 200 miles north of San Francisco, because its charm lies in how small, laid-back and idyllic it feels — the last thing I’d want, as the kids say, is to blow up its spot. But that’s what Oakland indie-pop singer Ash Reiter gets for organizing a fest around a single wooden stage, with yoga every morning, a trippy liquid light show every night, a general store with great breakfast burritos, and a campground and a swimming hole on the Eel River a stone’s throw away. The sounds of Oakland dominate this bill, including punky doo-wop staples Shannon and the Clams, electro-soul from the Seshen, dreamy psych jams from Meerna, and more. \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($50 and up) here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJalyeHLzjg\u003c/p>\n\u003ch4>\u003ca href=\"http://www.phonodelsol.com\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 17 at Potrero del Sol Park, San Francisco\u003c/strong>\u003cbr>\nNow in its seventh year, this one-day food, beer and music party thrown by \u003ca href=\"https://ww2.kqed.org/arts/affiliates/the-bay-bridged/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Bridged\u003c/a> packs a lot into roughly seven hours — and this year’s lineup is maybe the best yet, in large part thanks to a strong showing from women: The Coathangers bring cathartic yet danceable punk rock from Atlanta, while a trio of locals — R&B singer Rayana Jay, indie-pop buzz machine Jay Som, and dreamy shoegaze purveyor Madeline Kenney — make the lineup’s finer print the cool place to be. Oh yeah, and Thee Oh Sees are playing too. Pro tip: This festival’s food truck lineup is nearly as hotly anticipated each year as the music. Come hungry. \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($29 and up) here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fx7UDfiNqg4\u003c/p>\n\u003ch4>\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Summer Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Aug. 11–13, Downtown San Jose\u003c/strong>\u003cbr>\nWith 10 stages throughout downtown San Jose, this annual celebration handily reflects the diversity of the genre, with blues, R&B, funk, salsa and other Latin music represented alongside jazz from all corners of the globe. Big names like saxoponist Maceo Parker, Parliament Funkadelic and Hammond B-3 organ legend Dr. Lonnie Smith appear at this smorgasbord of a fest alongside emerging local talent, like the fast-rising Oakland singer Kalil Wilson. With more than 100 performances — both indoor and outdoor — over the course of three days, this is one of those elusive musical situations where there might actually be something for everyone. \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($20 and up) here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y233msRwcck\u003c/p>\n\u003ch4>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Sept. 4, around 3rd and Chestnut Streets, Oakland\u003c/strong>\u003cbr>\nThe only festival I feel comfortable recommending before the lineup’s even announced, Hiero Day is an annual Labor Day weekend gift to the community from Hieroglyphics, the hip-hop collective that defined the sound of East Bay hip-hop in the ’90s. What began as a free, feel-good block party in Oakland’s oft-overlooked Acorn neighborhood in 2012 has grown in the past couple years into a legitimate festival, with \u003ca href=\"https://ww2.kqed.org/arts/2016/08/19/heiro-day-2016-lineup-too-short-juvenile-invisibl-skratch-piklz-just-blaze-many-more/\" target=\"_blank\" rel=\"noopener noreferrer\">ever-better lineups\u003c/a> (featuring both rap veterans and up-and-comers), increased ticket prices and, yes, the infrastructure problems that come with a party everyone wants to attend. (\u003ca href=\"http://www.eastbaytimes.com/2016/09/05/hiero-day-woman-falls-through-skylight-at-oakland-music-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Last year’s festival saw at least one major safety issue from overcrowding.\u003c/a>) Still, by the time the sun starts to set and Souls of Mischief emerge to perform their classic “93 ’til Infinity,” it’s hard to beat the mood here. It’s a Town party through and through. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($19.93 and up last year) here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rRfRmPqAkBo\u003c/p>\n\u003cp>(Video by \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\">our friend and colleague Alex Ghassan\u003c/a>, whom we miss very much.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Looking to get your fest on without draining your savings account? We've got you covered.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you love Coachella? Have you achieved expert camper level at Bonnaroo? Do you thrive on the act of snaking your way through a crowd 200,000 strong to find your friends at \u003ca href=\"https://ww2.kqed.org/arts/2017/04/04/outside-lands-2017-lineup-metallica-lorde-gorillaz-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If that’s a hard no, no and \u003cem>no, thank you, \u003c/em>you’re not alone. Upwards of \u003ca href=\"https://www.washingtonpost.com/posteverything/wp/2017/04/17/are-there-too-many-music-festivals/?utm_term=.4a001793e3c0\" target=\"_blank\" rel=\"noopener noreferrer\">32 million people now attend music festivals in the U.S.\u003c/a> — and if you’re currently recovering from \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/bottlerock-2017-lineup-foo-fighters-tom-petty-maroon-5-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s BottleRock\u003c/a>, more power to you! But not everyone loves a massive festival. For example: people who can’t afford to spend \u003ca href=\"https://sfbay.craigslist.org/sfc/tix/6146126687.html\" target=\"_blank\" rel=\"noopener noreferrer\">half their month’s rent\u003c/a> on a wristband that gets you access to slightly nicer than usual Port-a-Pottys.\u003c/p>\n\u003cp>Luckily, if you don’t have the dough or can’t stomach the crowds, that doesn’t mean you need to skip out on music festivals entirely. Here are a handful of fests that won’t break the bank (these all clock in at $50 or under for a single-day ticket) or lead to large crowd-induced panic attacks (I am not a doctor).\u003c/p>\n\u003ch4>\u003ca href=\"http://www.huichica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica Music Festival\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 9–10 at Gundlach Bundschu Winery, Sonoma\u003c/strong>\u003cbr>\nSet among a picturesque 300-acre vineyard in the foothills of the Mayacamas Mountains, this festival would be a charmer even without a great lineup — but it has that too. Booked by (((folkYEAH!))), this fest’s bill is an annual who’s-who in sun-baked West Coast indie music: The Allah-La’s bring psychedelic desert twang up from L.A.; the Mattson 2 reinterpret Coltrane’s \u003cem>A Love Supreme\u003c/em> through a beachy 2017 filter; Christopher Owens’ new band Curls brings, well, Christopher Owens being inscrutably Christopher Owens-like. Others to check out: Tara Jane O’Neil, San Francisco’s own Heron Oblivion and Cool Ghouls, and Marty O’Reilly, from Santa Cruz. \u003ca href=\"https://www.ticketfly.com/purchase/event/1438216/tfly?__utma=1.491395843.1494892688.1495687989.1495749301.3&__utmb=1.1.10.1495749301&__utmc=1&__utmx=-&__utmz=1.1495749301.3.3.utmcsr=huichica.com%7Cutmccn=(referral)%7Cutmcmd=referral%7Cutmcct=/new-page-5-1-1/&__utmv=-&__utmk=72502803\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($40 and up) 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/2bBoBsUx5fs'\n title='//www.youtube.com/embed/2bBoBsUx5fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hickey Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 16–18 at the Peg House, Leggett\u003c/strong>\u003cbr>\nI almost feel bad writing about this festival in Standish Hickey State Park, about 200 miles north of San Francisco, because its charm lies in how small, laid-back and idyllic it feels — the last thing I’d want, as the kids say, is to blow up its spot. But that’s what Oakland indie-pop singer Ash Reiter gets for organizing a fest around a single wooden stage, with yoga every morning, a trippy liquid light show every night, a general store with great breakfast burritos, and a campground and a swimming hole on the Eel River a stone’s throw away. The sounds of Oakland dominate this bill, including punky doo-wop staples Shannon and the Clams, electro-soul from the Seshen, dreamy psych jams from Meerna, and more. \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($50 and up) 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/cJalyeHLzjg'\n title='//www.youtube.com/embed/cJalyeHLzjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"http://www.phonodelsol.com\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 17 at Potrero del Sol Park, San Francisco\u003c/strong>\u003cbr>\nNow in its seventh year, this one-day food, beer and music party thrown by \u003ca href=\"https://ww2.kqed.org/arts/affiliates/the-bay-bridged/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Bridged\u003c/a> packs a lot into roughly seven hours — and this year’s lineup is maybe the best yet, in large part thanks to a strong showing from women: The Coathangers bring cathartic yet danceable punk rock from Atlanta, while a trio of locals — R&B singer Rayana Jay, indie-pop buzz machine Jay Som, and dreamy shoegaze purveyor Madeline Kenney — make the lineup’s finer print the cool place to be. Oh yeah, and Thee Oh Sees are playing too. Pro tip: This festival’s food truck lineup is nearly as hotly anticipated each year as the music. Come hungry. \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($29 and up) 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/fx7UDfiNqg4'\n title='//www.youtube.com/embed/fx7UDfiNqg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Summer Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Aug. 11–13, Downtown San Jose\u003c/strong>\u003cbr>\nWith 10 stages throughout downtown San Jose, this annual celebration handily reflects the diversity of the genre, with blues, R&B, funk, salsa and other Latin music represented alongside jazz from all corners of the globe. Big names like saxoponist Maceo Parker, Parliament Funkadelic and Hammond B-3 organ legend Dr. Lonnie Smith appear at this smorgasbord of a fest alongside emerging local talent, like the fast-rising Oakland singer Kalil Wilson. With more than 100 performances — both indoor and outdoor — over the course of three days, this is one of those elusive musical situations where there might actually be something for everyone. \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($20 and up) 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/y233msRwcck'\n title='//www.youtube.com/embed/y233msRwcck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Sept. 4, around 3rd and Chestnut Streets, Oakland\u003c/strong>\u003cbr>\nThe only festival I feel comfortable recommending before the lineup’s even announced, Hiero Day is an annual Labor Day weekend gift to the community from Hieroglyphics, the hip-hop collective that defined the sound of East Bay hip-hop in the ’90s. What began as a free, feel-good block party in Oakland’s oft-overlooked Acorn neighborhood in 2012 has grown in the past couple years into a legitimate festival, with \u003ca href=\"https://ww2.kqed.org/arts/2016/08/19/heiro-day-2016-lineup-too-short-juvenile-invisibl-skratch-piklz-just-blaze-many-more/\" target=\"_blank\" rel=\"noopener noreferrer\">ever-better lineups\u003c/a> (featuring both rap veterans and up-and-comers), increased ticket prices and, yes, the infrastructure problems that come with a party everyone wants to attend. (\u003ca href=\"http://www.eastbaytimes.com/2016/09/05/hiero-day-woman-falls-through-skylight-at-oakland-music-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Last year’s festival saw at least one major safety issue from overcrowding.\u003c/a>) Still, by the time the sun starts to set and Souls of Mischief emerge to perform their classic “93 ’til Infinity,” it’s hard to beat the mood here. It’s a Town party through and through. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($19.93 and up last year) 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/rRfRmPqAkBo'\n title='//www.youtube.com/embed/rRfRmPqAkBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(Video by \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\">our friend and colleague Alex Ghassan\u003c/a>, whom we miss very much.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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