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"content": "\u003cp>“Summer” is a bit of an elusive term here in the Bay Area. Unlike the swampy provinces of New York City and its surrounding hamlets, summer doesn’t necessarily translate to “hot” in our fine republic. Instead, summer here is far more a state of mind — the feeling of eternal daylight, the excuse to lounge in the grass \u003cem>ad infinitum\u003c/em>, and the suspicion that you can go anywhere, at any time, and find a party. \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>That state of mind is perfect for outdoor music. The Bay Area is no stranger to behemoth corporate summer music festivals — we bookend the summer months with BottleRock in May and the big-money throw-down Outside Lands in August (the latter of which, in particular, has put together a pretty solid and somewhat diverse lineup this year).\u003c/p>\n\u003cp>But you don’t have to look far to find more manageable alternatives. We’ve assembled for you here a brief selection of festivals, series and events to fill your summer, some of which are more intimate than others. And they all take place in gorgeous outdoor venues just as thrilling as the music on display there. Just don’t forget to bring a jacket.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423020\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg\" alt=\"Bells Atlas\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13423020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bells Atlas\u003c/figcaption>\u003c/figure>\n\u003ch3>Bells Atlas\u003c/h3>\n\u003ch5>July 20\u003cbr>\nUC Botanical Garden, Berkeley\u003cbr>\n\u003ca href=\"http://botanicalgarden.berkeley.edu/education/public-programs/summer-concerts\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Every summer the UC Botanical Garden, nestled in the lush hills northeast of UC Berkeley’s campus, hosts a concert series in its redwood grove. Among this year’s lineup are the sharp songwriter Tom Brosseau and the raucous John Brothers Piano Company, but the ambitious East Bay ensemble Bells Atlas is a clear highlight. Drawing on elements of neo-soul, Afrobeat and funk, the five-piece (who also operate as \u003ca href=\"http://snapjudgment.org/\" target=\"_blank\" rel=\"noopener\">Snap Judgment\u003c/a>’s live performance house band) create sprawling arrangements that hypnotize with their sonic quirkiness. Their two new singles, “Spec and Bubble” and “NCAT,” sum up their aesthetic succinctly: deep grooves with just enough weird to keep us guessing.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423022\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/hickeyfest-800x450.jpg\" alt=\"One reason to go to Hickeyfest\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13423022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One reason to go to Hickeyfest\u003c/figcaption>\u003c/figure>\n\u003ch3>Hickey Fest\u003c/h3>\n\u003ch5>June 16-18\u003cbr>\nThe Peg House, Leggett\u003cbr>\n\u003ca href=\"http://hickeyfest.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in its fifth year, the one-stage Hickey Fest, which takes place at Standish Hickey State Park in Leggett (sorry, aspirational biters), is well-worth the drive. Drawing on a vast range of Bay Area talent like seasoned surf-punk rockers Shannon and the Clams, electro-soul mainstays the Seshen and the sublime indie-rocker Madeline Kenney, the festival hums with a strong DIY spirit. Yet the music is only one facet of the appeal here. Situated next to a bend in the Eel River that doubles as a bucolic swimming hole, cliff-diving and all, Hickey Fest is Burning Man without the crazy crowds (or the tech bros) — a camping getaway that doubles as an opportunity to listen to some of the best of what the Bay Area has to offer. The trails surrounding the campground are stunning, if you can summon the willpower to pull yourself away from the party.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Burger Boogaloo\u003c/h3>\n\u003ch5>July 1-2\u003cbr>\nMossword Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Always a party to remember, the Burger Boogaloo – an ongoing collaborative event between Burger Records and local radio station KALX, now in its fifth year – is a seething mess of punk rock exuberance that takes place in the sunken amphitheater at Oakland’s Mosswood Park. This year the festival organizers have really outdone themselves, bringing in heavyweights like Iggy Pop, X, and the Buzzcocks to headline the bill, and the King of Filth himself, John Waters, as Master of Ceremonies. If 2017 doesn’t feel like the year to wave your American flag with the utmost pride and euphoria, perhaps raging in a giant cement bowl with a bunch of other sweaty, pissed-off Bay Areans is just the Fourth of July party you’re looking for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423024\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg\" alt=\"Mavis Staples\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13423024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Aug. 27\u003cbr>\nStern Grove\u003cbr>\n\u003ca href=\"https://www.sterngrove.org/2017-concerts/#august-27\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in her 70s, iconic soul singer Mavis Staples – formerly of the family band the Staples Singers and a collaborator of Bob Dylan, Van Morrison and others – is experiencing a career renaissance. In recent years, she has worked on new music with artists including Wilco, Bon Iver, and even the pseudo-cartoon genre-bending Gorillaz. Her new album, \u003cem>Livin’ on a High Note\u003c/em>, finds her doing just that, with a whole gaggle of hip artists in tow. You couldn’t find a better act to cap off Stern Grove’s 80th anniversary free concert series, which also includes performances from Oakland’s de facto ambassador Fantastic Negrito and the San Francisco Symphony. Be sure to get there early for a good vantage point.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423023\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg\" alt=\"Marcus Shelby\" width=\"800\" height=\"799\" class=\"size-medium wp-image-13423023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1180x1178.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-960x958.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky.jpg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby\u003c/figcaption>\u003c/figure>\n\u003ch3>Marcus Shelby Orchestra\u003c/h3>\n\u003ch5>Sept. 23\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\n\u003ca href=\"http://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Bay Area’s own acclaimed composer/bassist Marcus Shelby recently returned from an off-Broadway collaboration with the actress and playwright Anna Deavere Smith called \u003cem>Notes from the Field\u003c/em>. Shelby plans to bring a wide scope of jazz offerings to Yerba Buena Gardens for a free afternoon concert. Expect excerpts from his work-in-progress \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> and commissioned pieces, including “Green and Blues” and “Beyond the Blues.” Plus, once the show is over, you’ll still have the whole afternoon ahead to explore SFMOMA, just next door.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The Bay is no stranger to large corporate summertime music festivals, but you don’t have to look far to find more manageable and interesting alternatives.",
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"title": "Get Outside: Summertime Concerts Al Fresco in the Bay Area | KQED",
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"headline": "Get Outside: Summertime Concerts Al Fresco in the Bay Area",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Summer” is a bit of an elusive term here in the Bay Area. Unlike the swampy provinces of New York City and its surrounding hamlets, summer doesn’t necessarily translate to “hot” in our fine republic. Instead, summer here is far more a state of mind — the feeling of eternal daylight, the excuse to lounge in the grass \u003cem>ad infinitum\u003c/em>, and the suspicion that you can go anywhere, at any time, and find a party. \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>That state of mind is perfect for outdoor music. The Bay Area is no stranger to behemoth corporate summer music festivals — we bookend the summer months with BottleRock in May and the big-money throw-down Outside Lands in August (the latter of which, in particular, has put together a pretty solid and somewhat diverse lineup this year).\u003c/p>\n\u003cp>But you don’t have to look far to find more manageable alternatives. We’ve assembled for you here a brief selection of festivals, series and events to fill your summer, some of which are more intimate than others. And they all take place in gorgeous outdoor venues just as thrilling as the music on display there. Just don’t forget to bring a jacket.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423020\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg\" alt=\"Bells Atlas\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13423020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bells Atlas\u003c/figcaption>\u003c/figure>\n\u003ch3>Bells Atlas\u003c/h3>\n\u003ch5>July 20\u003cbr>\nUC Botanical Garden, Berkeley\u003cbr>\n\u003ca href=\"http://botanicalgarden.berkeley.edu/education/public-programs/summer-concerts\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Every summer the UC Botanical Garden, nestled in the lush hills northeast of UC Berkeley’s campus, hosts a concert series in its redwood grove. Among this year’s lineup are the sharp songwriter Tom Brosseau and the raucous John Brothers Piano Company, but the ambitious East Bay ensemble Bells Atlas is a clear highlight. Drawing on elements of neo-soul, Afrobeat and funk, the five-piece (who also operate as \u003ca href=\"http://snapjudgment.org/\" target=\"_blank\" rel=\"noopener\">Snap Judgment\u003c/a>’s live performance house band) create sprawling arrangements that hypnotize with their sonic quirkiness. Their two new singles, “Spec and Bubble” and “NCAT,” sum up their aesthetic succinctly: deep grooves with just enough weird to keep us guessing.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423022\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/hickeyfest-800x450.jpg\" alt=\"One reason to go to Hickeyfest\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13423022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One reason to go to Hickeyfest\u003c/figcaption>\u003c/figure>\n\u003ch3>Hickey Fest\u003c/h3>\n\u003ch5>June 16-18\u003cbr>\nThe Peg House, Leggett\u003cbr>\n\u003ca href=\"http://hickeyfest.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in its fifth year, the one-stage Hickey Fest, which takes place at Standish Hickey State Park in Leggett (sorry, aspirational biters), is well-worth the drive. Drawing on a vast range of Bay Area talent like seasoned surf-punk rockers Shannon and the Clams, electro-soul mainstays the Seshen and the sublime indie-rocker Madeline Kenney, the festival hums with a strong DIY spirit. Yet the music is only one facet of the appeal here. Situated next to a bend in the Eel River that doubles as a bucolic swimming hole, cliff-diving and all, Hickey Fest is Burning Man without the crazy crowds (or the tech bros) — a camping getaway that doubles as an opportunity to listen to some of the best of what the Bay Area has to offer. The trails surrounding the campground are stunning, if you can summon the willpower to pull yourself away from the party.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Burger Boogaloo\u003c/h3>\n\u003ch5>July 1-2\u003cbr>\nMossword Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Always a party to remember, the Burger Boogaloo – an ongoing collaborative event between Burger Records and local radio station KALX, now in its fifth year – is a seething mess of punk rock exuberance that takes place in the sunken amphitheater at Oakland’s Mosswood Park. This year the festival organizers have really outdone themselves, bringing in heavyweights like Iggy Pop, X, and the Buzzcocks to headline the bill, and the King of Filth himself, John Waters, as Master of Ceremonies. If 2017 doesn’t feel like the year to wave your American flag with the utmost pride and euphoria, perhaps raging in a giant cement bowl with a bunch of other sweaty, pissed-off Bay Areans is just the Fourth of July party you’re looking for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423024\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg\" alt=\"Mavis Staples\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13423024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Aug. 27\u003cbr>\nStern Grove\u003cbr>\n\u003ca href=\"https://www.sterngrove.org/2017-concerts/#august-27\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in her 70s, iconic soul singer Mavis Staples – formerly of the family band the Staples Singers and a collaborator of Bob Dylan, Van Morrison and others – is experiencing a career renaissance. In recent years, she has worked on new music with artists including Wilco, Bon Iver, and even the pseudo-cartoon genre-bending Gorillaz. Her new album, \u003cem>Livin’ on a High Note\u003c/em>, finds her doing just that, with a whole gaggle of hip artists in tow. You couldn’t find a better act to cap off Stern Grove’s 80th anniversary free concert series, which also includes performances from Oakland’s de facto ambassador Fantastic Negrito and the San Francisco Symphony. Be sure to get there early for a good vantage point.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423023\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg\" alt=\"Marcus Shelby\" width=\"800\" height=\"799\" class=\"size-medium wp-image-13423023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1180x1178.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-960x958.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky.jpg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby\u003c/figcaption>\u003c/figure>\n\u003ch3>Marcus Shelby Orchestra\u003c/h3>\n\u003ch5>Sept. 23\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\n\u003ca href=\"http://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Bay Area’s own acclaimed composer/bassist Marcus Shelby recently returned from an off-Broadway collaboration with the actress and playwright Anna Deavere Smith called \u003cem>Notes from the Field\u003c/em>. Shelby plans to bring a wide scope of jazz offerings to Yerba Buena Gardens for a free afternoon concert. Expect excerpts from his work-in-progress \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> and commissioned pieces, including “Green and Blues” and “Beyond the Blues.” Plus, once the show is over, you’ll still have the whole afternoon ahead to explore SFMOMA, just next door.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "ganja-gifts-for-the-merrily-medicated",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>As the days get shorter, we find ourselves retreating, with accelerating frequency, to the comfort of the couch.\u003c/p>\n\u003cp>And with the holidays upon us, what better opportunity to give the gift of cannabis! Here are just a few ideas for those on your (medically-qualified) list of patients, er…friends.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513367\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513367\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang.jpg\" alt=\"Zen Potion's Big Bang Tea\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Zen Potion’s Big Bang Tea\u003c/figcaption>\u003c/figure>\n\u003ch3>Zen Potion’s Big Bang Tea\u003c/h3>\n\u003ch5>\u003ca href=\"https://www.facebook.com/Zen-Potion-556647741085019/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>We’re all familiar with the time-honored tradition of pouring a little whiskey in your tea; but what about some THC? The San Francisco-based team at Zen Potion has put together a handful of tea varieties to sooth both your throat and mind on these windy winter evenings. The all-vegan, all-organic, sugar-free Big Bang variety packs includes rooibos, cinnamon, cloves, orange peel, rosehip, rose petals, and a strong dose of THC into a toasty treat. Also available in Creativity, Time Travel and Healing varieties (all of which deliver a mellower high). Bonus points: it comes in a little triangular box that looks #StraightOuttaDiagonAlley. (#HarryPotterReference – Ed.)\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513365\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513365\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/stoner-coloring-book.jpg\" alt=\"'The Stoner's Coloring Book'\" width=\"480\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-150x150.jpg 150w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘The Stoner’s Coloring Book’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Stoner’s Coloring Book\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://stonerscoloringbook.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Hey, good news! You don’t need a medical card to buy this coloring book. Created by Jared Hoffman, the volume features more than 40 original illustrations by nine artists, and is designed to both mesmerize and relieve your stress. While Hoffman suggests that it’s perfect for “[settling] down with your ‘kindest buds,’ a stash of junk food, and plenty of good vibes,” any open-minded adult is likely to find peace of mind by tapping into the Zen-like trance of coloring, especially on the handful of gray winter days we get per year, when you’re just looking to inject a little color into the gloom.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513563\" class=\"wp-caption alignleft\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513563\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products.jpg\" alt=\"Whoopi & Maya products\" width=\"625\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-520x313.jpg 520w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi & Maya products\u003c/figcaption>\u003c/figure>\n\u003ch3>Whoopi & Maya’s Bath Salts\u003c/h3>\n\u003ch5>\u003ca href=\"http://whoopiandmaya.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>It’s official: Whoopi Goldberg is in the medical marijuana game. The talk-show host and actress has teamed up with Maya Elisabeth, the founder of Om Edibles and winner of numerous Cannabis Cup awards, to create a collection of medical cannabis products specifically designed to relieve menstrual discomfort. Their product line include rubs, tinctures and edibles. And their most exciting offering is a line of Epsom bath salts called Soak designed to give bathers the most glorious soak this side of Turkey. The salts come in three scents: lavender, something called Amber Moon (is it a metaphor? a moon made of caramel?) and Fragrance-Free. But just to clarify — you’re not gonna get high. It’s just going to feel nice.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513565\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/cali-connection.jpg\" alt=\"Cali Connection Logo\" width=\"500\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection-375x307.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Cali Connection Logo\u003c/figcaption>\u003c/figure>\n\u003ch3>Seeds from Cali Connection\u003c/h3>\n\u003ch5>More Information\u003c/h5>\n\u003cp>A small bundle of seeds from one of the oldest seed producers in the nation is the perfect low-stakes introduction to growing your own plants. Available in countless strains, from the OG Kush to the Blue Dream Haze, cultivating your own plants isn’t just a way to save some cash — it’s the best way to learn about the intricacies, challenges and rewards of home-grown pot.\u003c/p>\n\u003c/div>\n\u003ch2>Runner Ups\u003c/h2>\n\u003cp>\u003cstrong>VapeXhale\u003c/strong>\u003cbr>\nFor the high-end patients in your family (or if you’ve robbed a bank recently, or have come into an inheritance, or work in tech) there is no stronger product on the market than the VapeXhale. Developed by Bone Thugs n’ Harmony backup dancer and Mortal Kombat stunt double turned entrepreneur Seibo Shen, the Evo model delivers the most thorough and pleasant inhalation out there. Plus, you can carry it around in a suitcase, which makes you look cool, or like you’re in The Matrix.\u003cbr>\n\u003cstrong>\u003cbr>\nNapreva Peppermint Tincture\u003c/strong>\u003cbr>\nThis tincture – spritz it under your tongue for maximum effect – is mostly CBD, versus THC, so it won’t get you terribly stoned. But if you’re having trouble sleeping, or are experiencing any aches this holiday season, this may just be the gift for you.\u003c/p>\n\u003cp>\u003cstrong>Gift Cards!\u003c/strong>\u003cbr>\nIf you know whether the person you’re buying for prefers an indica or a sativa, a concentrate or an eighth, why not just get them a gift card from one of the Bay Area’s many dispensaries, including Cookies SF, Berkeley Patients Group, CBCB or Harborside? You can’t go wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "With the holidays upon us, what better opportunity to give the gift of cannabis to our…cough…medically-merited friends!",
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"title": "Ganja Gifts for the Merrily Medicated | KQED",
"description": "With the holidays upon us, what better opportunity to give the gift of cannabis to our…cough…medically-merited friends!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>As the days get shorter, we find ourselves retreating, with accelerating frequency, to the comfort of the couch.\u003c/p>\n\u003cp>And with the holidays upon us, what better opportunity to give the gift of cannabis! Here are just a few ideas for those on your (medically-qualified) list of patients, er…friends.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513367\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513367\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang.jpg\" alt=\"Zen Potion's Big Bang Tea\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/zen-potion-big-bang-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Zen Potion’s Big Bang Tea\u003c/figcaption>\u003c/figure>\n\u003ch3>Zen Potion’s Big Bang Tea\u003c/h3>\n\u003ch5>\u003ca href=\"https://www.facebook.com/Zen-Potion-556647741085019/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>We’re all familiar with the time-honored tradition of pouring a little whiskey in your tea; but what about some THC? The San Francisco-based team at Zen Potion has put together a handful of tea varieties to sooth both your throat and mind on these windy winter evenings. The all-vegan, all-organic, sugar-free Big Bang variety packs includes rooibos, cinnamon, cloves, orange peel, rosehip, rose petals, and a strong dose of THC into a toasty treat. Also available in Creativity, Time Travel and Healing varieties (all of which deliver a mellower high). Bonus points: it comes in a little triangular box that looks #StraightOuttaDiagonAlley. (#HarryPotterReference – Ed.)\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513365\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513365\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/stoner-coloring-book.jpg\" alt=\"'The Stoner's Coloring Book'\" width=\"480\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/stoner-coloring-book-150x150.jpg 150w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘The Stoner’s Coloring Book’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Stoner’s Coloring Book\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://stonerscoloringbook.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Hey, good news! You don’t need a medical card to buy this coloring book. Created by Jared Hoffman, the volume features more than 40 original illustrations by nine artists, and is designed to both mesmerize and relieve your stress. While Hoffman suggests that it’s perfect for “[settling] down with your ‘kindest buds,’ a stash of junk food, and plenty of good vibes,” any open-minded adult is likely to find peace of mind by tapping into the Zen-like trance of coloring, especially on the handful of gray winter days we get per year, when you’re just looking to inject a little color into the gloom.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513563\" class=\"wp-caption alignleft\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513563\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products.jpg\" alt=\"Whoopi & Maya products\" width=\"625\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/WhoopiMaya-Products-520x313.jpg 520w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi & Maya products\u003c/figcaption>\u003c/figure>\n\u003ch3>Whoopi & Maya’s Bath Salts\u003c/h3>\n\u003ch5>\u003ca href=\"http://whoopiandmaya.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>It’s official: Whoopi Goldberg is in the medical marijuana game. The talk-show host and actress has teamed up with Maya Elisabeth, the founder of Om Edibles and winner of numerous Cannabis Cup awards, to create a collection of medical cannabis products specifically designed to relieve menstrual discomfort. Their product line include rubs, tinctures and edibles. And their most exciting offering is a line of Epsom bath salts called Soak designed to give bathers the most glorious soak this side of Turkey. The salts come in three scents: lavender, something called Amber Moon (is it a metaphor? a moon made of caramel?) and Fragrance-Free. But just to clarify — you’re not gonna get high. It’s just going to feel nice.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12513565\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-12513565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/cali-connection.jpg\" alt=\"Cali Connection Logo\" width=\"500\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/cali-connection-375x307.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Cali Connection Logo\u003c/figcaption>\u003c/figure>\n\u003ch3>Seeds from Cali Connection\u003c/h3>\n\u003ch5>More Information\u003c/h5>\n\u003cp>A small bundle of seeds from one of the oldest seed producers in the nation is the perfect low-stakes introduction to growing your own plants. Available in countless strains, from the OG Kush to the Blue Dream Haze, cultivating your own plants isn’t just a way to save some cash — it’s the best way to learn about the intricacies, challenges and rewards of home-grown pot.\u003c/p>\n\u003c/div>\n\u003ch2>Runner Ups\u003c/h2>\n\u003cp>\u003cstrong>VapeXhale\u003c/strong>\u003cbr>\nFor the high-end patients in your family (or if you’ve robbed a bank recently, or have come into an inheritance, or work in tech) there is no stronger product on the market than the VapeXhale. Developed by Bone Thugs n’ Harmony backup dancer and Mortal Kombat stunt double turned entrepreneur Seibo Shen, the Evo model delivers the most thorough and pleasant inhalation out there. Plus, you can carry it around in a suitcase, which makes you look cool, or like you’re in The Matrix.\u003cbr>\n\u003cstrong>\u003cbr>\nNapreva Peppermint Tincture\u003c/strong>\u003cbr>\nThis tincture – spritz it under your tongue for maximum effect – is mostly CBD, versus THC, so it won’t get you terribly stoned. But if you’re having trouble sleeping, or are experiencing any aches this holiday season, this may just be the gift for you.\u003c/p>\n\u003cp>\u003cstrong>Gift Cards!\u003c/strong>\u003cbr>\nIf you know whether the person you’re buying for prefers an indica or a sativa, a concentrate or an eighth, why not just get them a gift card from one of the Bay Area’s many dispensaries, including Cookies SF, Berkeley Patients Group, CBCB or Harborside? You can’t go wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>“I was taking a break from everything. A lot of different things had happened over the past handful of years in my life, a lot of personal loss — people passing, people leaving, people getting sick. It was nice to take those six months to heal myself and sort of reflect on things.”\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/266636068″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>In the six years that former Hüsker Dü frontman Bob Mould has lived in San Francisco, he’s been a \u003ca href=\"http://bobmould.com/2014/02/20/punk-rock-fancy-dj-night-debuts-at-noise-pop-opening-party-225/\" target=\"_blank\" rel=\"noopener\">club DJ\u003c/a>, an \u003ca href=\"http://www.bookforum.com/review/8322\" target=\"_blank\" rel=\"noopener\">author\u003c/a>, and an \u003ca href=\"http://www.sfweekly.com/shookdown/2014/11/26/bob-mould-is-busking-for-the-homeless-with-margaret-cho-in-the-tl-right-now\" target=\"_blank\" rel=\"noopener\">advocate for the homeless\u003c/a>. But it’s Mould as songwriter that we’ve known and loved the longest, and nowhere is his talent more present than on his latest album, \u003cem>Patch the Sky\u003c/em>.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Mould stops by KQED’s studios to discuss the themes and details of album opener “Voices in My Head” — a song, he explains, that came after a long period of personal loss and reckoning, and one of 50 songs that emerged from a hailstorm of songwriting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Other songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band”\u003cbr>\nHenry Gross, “Shannon”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003cstrong>Subscribe\u003c/strong> to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>“Sometimes all it takes is a guitar tone… to get me very locked in a song and wanting to be creative. And I found that tone — we wanted it to sound like a T-Rex was being strangled.”\u003c/p>\n\u003cp>\u003cem>— Jessica Dobson, Deep Sea Diver\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259624603″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Deep Sea Diver’s new album, \u003cem>Secrets\u003c/em>, is full of songs that mange to sound both elaborately crafted and effortless. While the Seattle outfit’s arrangements are immaculate, combining subtle keyboard figures and complex drum patterns with Dobson’s gorgeous guitar tones, they never sound fussed-over. They sound weightless.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Dobson — former touring guitarist for the Shins, Beck and the Yeah Yeah Yeahs — and the rest of her band share the story behind “It Takes a Moment,” a song that alternately gnashes its teeth and glows like a California sunset, in this episode of the podcast recorded in the band’s van outside of San Francisco’s Rickshaw Stop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Additional songs heard in this episode:\u003cbr>\n\u003cstrong>David Bowie\u003c/strong> — “Scary Monsters (and Super Creeps)”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Deep Sea Diver perform Wednesday, May 4, at the Independent in San Francisco; \u003ca href=\"https://www.ticketfly.com/purchase/event/1117537?brand=anotherplanet&came_from=CFC_ANOTHERPLANET_web&q=ac3e176b-cfcd-4263-a180-95c4f9a3ab9b&p=8bf98569-9994-45ca-995c-8f964898a92a&ts=1460955649&c=ticketfly&e=0010a&rt=Safetynet&h=ebcbac6d9a789bd47629e3d12214775e\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Subscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Sometimes all it takes is a guitar tone… to get me very locked in a song and wanting to be creative. And I found that tone — we wanted it to sound like a T-Rex was being strangled.”\u003c/p>\n\u003cp>\u003cem>— Jessica Dobson, Deep Sea Diver\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/259624603″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/259624603″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Deep Sea Diver’s new album, \u003cem>Secrets\u003c/em>, is full of songs that mange to sound both elaborately crafted and effortless. While the Seattle outfit’s arrangements are immaculate, combining subtle keyboard figures and complex drum patterns with Dobson’s gorgeous guitar tones, they never sound fussed-over. They sound weightless.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Dobson — former touring guitarist for the Shins, Beck and the Yeah Yeah Yeahs — and the rest of her band share the story behind “It Takes a Moment,” a song that alternately gnashes its teeth and glows like a California sunset, in this episode of the podcast recorded in the band’s van outside of San Francisco’s Rickshaw Stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Additional songs heard in this episode:\u003cbr>\n\u003cstrong>David Bowie\u003c/strong> — “Scary Monsters (and Super Creeps)”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Deep Sea Diver perform Wednesday, May 4, at the Independent in San Francisco; \u003ca href=\"https://www.ticketfly.com/purchase/event/1117537?brand=anotherplanet&came_from=CFC_ANOTHERPLANET_web&q=ac3e176b-cfcd-4263-a180-95c4f9a3ab9b&p=8bf98569-9994-45ca-995c-8f964898a92a&ts=1460955649&c=ticketfly&e=0010a&rt=Safetynet&h=ebcbac6d9a789bd47629e3d12214775e\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Subscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Anyone who had someone close to them die as a child, you think a lot about death and… what the purpose of life is. And if there isn’t one, that’s just as fine and valid, but what do you do with your time here?”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Dan Deacon, ‘When I Was Done Dying’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Dan Deacon’s music is visceral. It inspires his rabid fans, crowded around as he performs on venue floors, to dance, laugh and lose themselves in communal euphoria. Were he to switch his bleeping synthesizers and zany vocal effects for drums and flutes, his performances would feel much more like 1968 than 2016. Deacon distorts and manipulates his voice to the point of being barely comprehensible — it’s not his lyrics that resonate; it’s the giddy rush.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Yet “When I was Done Dying,” from last year’s \u003cem>Gliss Riffer\u003c/em>, offers something markedly different. Sung in a clear voice that touches on profound themes of existence, birth and rebirth, it marks a distinct shift in Deacon’s approach to songwriting. Listen in as Deacon explains the life experiences and philosophies that inspired the song on this episode of the podcast, recorded at Zeitgeist Management in San Francisco’s Mission District.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dan Deacon, “The Crystal Cat”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Anyone who had someone close to them die as a child, you think a lot about death and… what the purpose of life is. And if there isn’t one, that’s just as fine and valid, but what do you do with your time here?”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Dan Deacon, ‘When I Was Done Dying’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Dan Deacon’s music is visceral. It inspires his rabid fans, crowded around as he performs on venue floors, to dance, laugh and lose themselves in communal euphoria. Were he to switch his bleeping synthesizers and zany vocal effects for drums and flutes, his performances would feel much more like 1968 than 2016. Deacon distorts and manipulates his voice to the point of being barely comprehensible — it’s not his lyrics that resonate; it’s the giddy rush.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Yet “When I was Done Dying,” from last year’s \u003cem>Gliss Riffer\u003c/em>, offers something markedly different. Sung in a clear voice that touches on profound themes of existence, birth and rebirth, it marks a distinct shift in Deacon’s approach to songwriting. Listen in as Deacon explains the life experiences and philosophies that inspired the song on this episode of the podcast, recorded at Zeitgeist Management in San Francisco’s Mission District.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Listen First, Film Later: The Scene-Setting Music of 'Moom'",
"headTitle": "Listen First, Film Later: The Scene-Setting Music of ‘Moom’ | KQED",
"content": "\u003cp>There’s a scene in \u003cem>The Dam Keeper\u003c/em>, the Oscar-nominated animated 2014 short film from Berkeley’s \u003ca href=\"http://www.tonkohouse.com/\">\u003cstrong>Tonko House Studios\u003c/strong>\u003c/a>, in which poor Pig gets stuffed into a toilet in the school bathroom by a pack of nasty ogre-faced bullies. But when the quick-witted Fox comes in and sees Pig’s little feet under the stall, a gentle piano figure starts to build. As light creeps into the dark, gray bathroom, the two characters begin to sketch pictures of the sinister punks, laughing giddily all the while. Suddenly, a huge string section hits with gale-force strength, and the dingy bathroom becomes fully illuminated in a gorgeous glow.\u003c/p>\n\u003cp>While the scene flows effortlessly, built with emotional precision, its construction was anything but simple. In fact, its dynamics and pace aren’t even solely the work of the film’s directors. Instead of adding music to an existing scene, the score itself had actually \u003cem>formed\u003c/em> the scene — which was painstakingly repainted by hand once the directors heard the music.\u003c/p>\n\u003cfigure id=\"attachment_11431431\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg\" alt=\"A scene from 'Moom.'\" width=\"630\" height=\"353\" class=\"size-full wp-image-11431431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab-400x224.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Moom.’\u003c/figcaption>\u003c/figure>\n\u003cp>This back-and-forth dance between picture and music, which courses its way through the film, is at the heart of the relationship between Tonko House’s Dice Tsutsumi and Robert Kondo — both Pixar art director veterans — and their musical partners Zach Johnston and Matteo Roberts, who’ve both been involved with the indie-rock ensemble \u003ca href=\"https://www.youtube.com/watch?v=tcnQ9-qWSfc\">Phox\u003c/a>. Their collaboration is built on the idea that a film’s music and its picture do not need to be constructed independently, and instead can feed and inspire each other. But such a process is also insanely tedious; Johnson told me that in the course of their collaborations, some scenes are re-scored 10 times. “Even if you get it right,” he explains, “the timing might change.”\u003c/p>\n\u003cp>Yet that tedium hasn’t stopped Johnston and Roberts from teaming up again with Tonko House for their upcoming second release, \u003cem>Moom, \u003c/em>which premiered at San Jose’s Cinequest Film Festival earlier this month. “When we started \u003cem>Moom\u003c/em>, we didn’t even think about anyone else [to write the score]. [It became] a long journey of them trying to hit the feeling while we were still trying to get feeling for the film,” Tsutsumi says. “I don’t think every composer would be able to do that.”\u003c/p>\n\u003cp>While \u003cem>The Dam Keeper\u003c/em>’s characters and plot line were easy enough to follow without words, \u003cem>Moom\u003c/em>’s narrative is far more abstract. Based on a Japanese children’s book of the same name, \u003cem>Moom\u003c/em> explores the challenges and importance of how we let go of memories and accept changes in our lives.\u003c/p>\n\u003cfigure id=\"attachment_11431541\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tonko.jpg\" alt=\"Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House.\" width=\"625\" height=\"310\" class=\"size-full wp-image-11431541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko-400x198.jpg 400w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House. \u003ccite>(Tonko House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, memories manifest themselves in the form of giggling 3D balloon-like characters, who then in turn spend their days releasing \u003cem>other\u003c/em> memories that have washed up in the pastoral wonderland that they inhabit with an unnamed (and unexplained) astronaut. The astronaut wears a clunky space suit with an American flag, trains surface majestically out of a lake, memories pop out of ballet slippers, an ensemble of jittery memory blobs form an impressive jazz combo, and the bright yellow title character laps it all up with wide-eyed glee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The score for \u003cem>Moom \u003c/em>was recorded over the course of two bright December days at Berkeley’s famed Fantasy Studios and conducted by Magik*Magik Orchestra’s Minna Choi. Musicians came in for a couple hours at a time, and as they recorded, the score grew, accumulating layers of sound in both dramatic leaps, as with the addition of a string section, and in elegant minutiae, with the subtleties of a harp. Johnston and Roberts had flown in from Wisconsin for the recording and subsequent mixing; Johnston padded slowly around the control room with his hands behind his back, like a scientist watching an experiment unfold, while Tsutsumi camped out in the brightly-lit live room with a camera on a tripod, filming the musicians gleefully. The film itself played on screens overhead, flashing to help mark time. “In [those] two days, it went from a fun art project to ‘We made a film!’” Kondo told me. “It was the only time a tear welled up.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Vg4yFnIQSg\u003c/p>\n\u003cp>The finished score brings a degree of clarity to an otherwise perplexing piece of art. When I asked Kondo and Tsutsumi which scenes were most reinforced or effected by the music, they quickly point to a moment towards the end of \u003cem>Moom\u003c/em> in which the unnamed female character finally learns to let go. As she floats away, in the midst of a sumptuous, uber-realistic sunrise, the sweep of the strings and the plink of the piano all but disappear, leaving only a faint chord in their wake, building suspense as we wait to watch her fate. “[Johnston and Roberts] gave [that scene] breath that it didn’t have before,” Kondo says. “They completely did their own interpretation,” Tsutsumi adds glowingly. “It works so much better.” \u003c/p>\n\u003cp>Yet it’s the film’s final moment that was most drastically altered by the music. (Don’t worry — no spoilers here). It’s a testament to Tonko House’s open-mindedness and flexibility that the final, culminating moment of their project; the moment a filmmaker dreams about, often slaves over, would make a complete 180-degree turn simply in response to the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In both of their releases, Tonko House have put their trust in their musical collaborators; they’ve used music not merely to add to their story but have made it part of the story. As a result? They’ve created films that are, to some degree, out of their hands. \u003c/p>\n\n",
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"excerpt": "Pixar veterans Dice Tsutsumi and Robert Kondo trust their musical collaborators so much that they let the score shape their films instead of the other way around.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a scene in \u003cem>The Dam Keeper\u003c/em>, the Oscar-nominated animated 2014 short film from Berkeley’s \u003ca href=\"http://www.tonkohouse.com/\">\u003cstrong>Tonko House Studios\u003c/strong>\u003c/a>, in which poor Pig gets stuffed into a toilet in the school bathroom by a pack of nasty ogre-faced bullies. But when the quick-witted Fox comes in and sees Pig’s little feet under the stall, a gentle piano figure starts to build. As light creeps into the dark, gray bathroom, the two characters begin to sketch pictures of the sinister punks, laughing giddily all the while. Suddenly, a huge string section hits with gale-force strength, and the dingy bathroom becomes fully illuminated in a gorgeous glow.\u003c/p>\n\u003cp>While the scene flows effortlessly, built with emotional precision, its construction was anything but simple. In fact, its dynamics and pace aren’t even solely the work of the film’s directors. Instead of adding music to an existing scene, the score itself had actually \u003cem>formed\u003c/em> the scene — which was painstakingly repainted by hand once the directors heard the music.\u003c/p>\n\u003cfigure id=\"attachment_11431431\" class=\"wp-caption alignright\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg\" alt=\"A scene from 'Moom.'\" width=\"630\" height=\"353\" class=\"size-full wp-image-11431431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moom.Screengrab-400x224.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Moom.’\u003c/figcaption>\u003c/figure>\n\u003cp>This back-and-forth dance between picture and music, which courses its way through the film, is at the heart of the relationship between Tonko House’s Dice Tsutsumi and Robert Kondo — both Pixar art director veterans — and their musical partners Zach Johnston and Matteo Roberts, who’ve both been involved with the indie-rock ensemble \u003ca href=\"https://www.youtube.com/watch?v=tcnQ9-qWSfc\">Phox\u003c/a>. Their collaboration is built on the idea that a film’s music and its picture do not need to be constructed independently, and instead can feed and inspire each other. But such a process is also insanely tedious; Johnson told me that in the course of their collaborations, some scenes are re-scored 10 times. “Even if you get it right,” he explains, “the timing might change.”\u003c/p>\n\u003cp>Yet that tedium hasn’t stopped Johnston and Roberts from teaming up again with Tonko House for their upcoming second release, \u003cem>Moom, \u003c/em>which premiered at San Jose’s Cinequest Film Festival earlier this month. “When we started \u003cem>Moom\u003c/em>, we didn’t even think about anyone else [to write the score]. [It became] a long journey of them trying to hit the feeling while we were still trying to get feeling for the film,” Tsutsumi says. “I don’t think every composer would be able to do that.”\u003c/p>\n\u003cp>While \u003cem>The Dam Keeper\u003c/em>’s characters and plot line were easy enough to follow without words, \u003cem>Moom\u003c/em>’s narrative is far more abstract. Based on a Japanese children’s book of the same name, \u003cem>Moom\u003c/em> explores the challenges and importance of how we let go of memories and accept changes in our lives.\u003c/p>\n\u003cfigure id=\"attachment_11431541\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tonko.jpg\" alt=\"Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House.\" width=\"625\" height=\"310\" class=\"size-full wp-image-11431541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tonko-400x198.jpg 400w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Daisuke “Dice” Tsutsumi and Robert Kondo (L-R) of Tonko House. \u003ccite>(Tonko House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, memories manifest themselves in the form of giggling 3D balloon-like characters, who then in turn spend their days releasing \u003cem>other\u003c/em> memories that have washed up in the pastoral wonderland that they inhabit with an unnamed (and unexplained) astronaut. The astronaut wears a clunky space suit with an American flag, trains surface majestically out of a lake, memories pop out of ballet slippers, an ensemble of jittery memory blobs form an impressive jazz combo, and the bright yellow title character laps it all up with wide-eyed glee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The score for \u003cem>Moom \u003c/em>was recorded over the course of two bright December days at Berkeley’s famed Fantasy Studios and conducted by Magik*Magik Orchestra’s Minna Choi. Musicians came in for a couple hours at a time, and as they recorded, the score grew, accumulating layers of sound in both dramatic leaps, as with the addition of a string section, and in elegant minutiae, with the subtleties of a harp. Johnston and Roberts had flown in from Wisconsin for the recording and subsequent mixing; Johnston padded slowly around the control room with his hands behind his back, like a scientist watching an experiment unfold, while Tsutsumi camped out in the brightly-lit live room with a camera on a tripod, filming the musicians gleefully. The film itself played on screens overhead, flashing to help mark time. “In [those] two days, it went from a fun art project to ‘We made a film!’” Kondo told me. “It was the only time a tear welled up.”\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/7Vg4yFnIQSg'\n title='//www.youtube.com/embed/7Vg4yFnIQSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The finished score brings a degree of clarity to an otherwise perplexing piece of art. When I asked Kondo and Tsutsumi which scenes were most reinforced or effected by the music, they quickly point to a moment towards the end of \u003cem>Moom\u003c/em> in which the unnamed female character finally learns to let go. As she floats away, in the midst of a sumptuous, uber-realistic sunrise, the sweep of the strings and the plink of the piano all but disappear, leaving only a faint chord in their wake, building suspense as we wait to watch her fate. “[Johnston and Roberts] gave [that scene] breath that it didn’t have before,” Kondo says. “They completely did their own interpretation,” Tsutsumi adds glowingly. “It works so much better.” \u003c/p>\n\u003cp>Yet it’s the film’s final moment that was most drastically altered by the music. (Don’t worry — no spoilers here). It’s a testament to Tonko House’s open-mindedness and flexibility that the final, culminating moment of their project; the moment a filmmaker dreams about, often slaves over, would make a complete 180-degree turn simply in response to the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In both of their releases, Tonko House have put their trust in their musical collaborators; they’ve used music not merely to add to their story but have made it part of the story. As a result? They’ve created films that are, to some degree, out of their hands. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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